Talk:The Death of Klinghoffer

message: The article contains this text:
"Some critics and audience members condemned the production as antisemitic, and appearing to be 'sympathetic' to the hijackers."
An Edward Rothstein column was listed as the source. However, the listed column never uses the words 'antisemitic' or 'sympathetic' (or any variants). Rothstein was certainly critical of the opera, but his column doesn't provide any support of the article text. On the other hand, there's no doubt that many critics and audience members have used those and similar words. A better source is needed here.   — Preceding unsigned comment added by Jacksheriff (talk • contribs) 21:02, 21 October 2014 (UTC)
thread_title:  Edward Rothstein Review 

message: I don't think this article reasonably or fairly depicts Richard Taruskin's criticism of both the work itself and of those who attacked the Boston Symphony's decision not to program it. Excerpts:
"It was only a social contract that Mr. Barenboim defied [conducting Wagner in Israel], but he seemed to want credit for defying a ban. His act implied that the feelings of Holocaust survivors had been coddled long enough and that continuing to honor them was both an intolerable infringement on his career and an insult to artistic greatness. To agree with him, one had to stretch the definition of censorship way beyond that associated with Nazis, Soviets and Islamic fundamentalists, into moral terrain usually associated with forbearance or discretion or mutual respect...
"A month earlier, Mark Swed, the chief music critic for The Los Angeles Times, had expressed a similar opinion [about The Death of Klinghoffer], only slightly more decorously, when he boasted that, preferring answers and understanding to comfort, he had listened to the Nonesuch recording of Klinghoffer the day after the World Trade Center had collapsed. But whence this quaintly macho impulse to despise comfort (women's work?) and even deny it haughtily to sufferers? And whence the idea of seeking answers and understanding in an opera peopled by wholly fictional terrorists and semifictionalized victims, rather than in more relevant sources of information?
"Anthony Tommasini, in The New York Times, endorsed Mr. Adams's contention that his opera offers the sad solace of truth. What truth? The Death of Klinghoffer trades in the tritest undergraduate fantasies....
"Censorship is always deplorable, but the exercise of forbearance can be noble. Not to be able to distinguish the noble from the deplorable is morally obtuse." TheScotch (talk) 02:24, 4 April 2011 (UTC)
thread_title:  Richard Taruskin's Criticism 

message: This sentence seems to miss a word:
"Fink further posited that the reaction of American audiences to the portrayal of the Rumor family was partly because it was sociologically accurate." Bazuz (talk) 21:31, 2 August 2012 (UTC)
thread_title:  missing word 

message: Would it be possible to beef this article up with a list of articles and chorus numbers? It's surprisingly difficult to find something like this on Google, e.g. "Chorus of Exiled Palestinians" "Chorus of Exiled Jews", etc. 
Also, sources to the libretti would be nice.  — Preceding unsigned comment added by 68.197.91.136 (talk) 03:56, 25 September 2014 (UTC)
replies: text: Some musical numbers are mentioned in the article. There's a track list of the Nonesuch recording at http://www.nonesuch.com/albums/the-death-of-klinghoffer, and of the Decca recording at http://www.deccaclassics.com/en/cat/0741899. I suspect the libretto is not freely available as it's presumably copyrighted. -- Michael Bednarek (talk) 10:43, 25 September 2014 (UTC)
replies: text: Cheers. I was suggesting that maybe someone could integrate the track list into the article, and I'm too lazy. Yeah, I suspected that about the libretto.  — Preceding unsigned comment added by 74.101.162.243 (talk) 01:25, 26 September 2014 (UTC)

text: Actually, if you search for the entire Klinghoffer recording on YouTube, there is in fact the entire libretto in the video's info. I was surprised too.  — Preceding unsigned comment added by 128.59.155.108 (talk) 21:57, 26 September 2014 (UTC)
thread_title:  Libretti? Synopsis? List of Arias?  

message: The box under "Roles" describes four characters as "a terrorist". In the libretto's description of roles http://www.boosey.com/pages/opera/moredetails.asp?musicid=6372 they are merely identified as "MOLQI," "MAMOUD," "OMAR" and "Rambo." Why was this adjective added? 
This is editorializing on the part of Wikipedia, and Wikipedia discourages the word WP:TERRORIST. It's certainly more WP:NPOV to leave it out. 
It sounds like an editorial emendation to Adams' work. I think we should let the author speak for himself. It may be that "terrorist" is a conclusion that is left for the audience to arrive at on its own. 
The Roles box doesn't refer to Klinghoffer as "a Jew", even though he definitely was one. --Nbauman (talk) 21:52, 24 October 2014 (UTC)
thread_title:  Terrorist 

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thread_title:  External links modified