Opera Gives Moses AK-47, Turns Him into Osama bin Laden


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The left hasn’t had much luck with its “modern” pro-terrorist operas like  “The Death of Klinghoffer” and “My Name is Rachel Corrie (And I Love Hamas)”, so frustrated terrorist loving theatrics types are turning to the hijacking of old operas by restaging them as perverse terrorist propaganda.

This misuse of a classic artistic work, happening during an alarming rise in antisemitism in Europe, apparently is meant to indoctrinate people with the idea that Israel is the villain in its conflict with the Palestinian Arabs.

The opera’s Italian libretto, based on passages from the Bible’s Book of Exodus Passover (Pesach) story, depicts Moses’ efforts to persuade Pharaoh to free the Israelites from bondage.

Vick and Nunn have been unfaithful to Rossini’s plot by representing through appearance the ancient Egyptians as modern Arabs (including Pharaoh and his son), the Israelites as terrorist-like and Moses, sung by bass Riccardo Zanellato, as an Osama bin Laden-look-alike terrorist leader toting an assault rifle. But Vick makes sure Moses is easily recognized as a Jew since he also always wears a tallit (Jewish prayer shawl).

[The opera] ends, after the escape through the Red Sea, with an orchestral postlude depicting God’s grace; here, the passage accompanies a young Palestinian boy as he straps himself up for a suicide bombing and approaches an Israeli soldier.

Vick interviewed in an “extra” section of the video, is seen saying: “A person is seen as a terrorist by one side and as a freedom fighter by the other.”

Much as some people might see Vick as a hack who butchered a classic opera, while others might seem him as a terrorist-loving buffoon uttering the most unoriginal lines in the history of terrorist apologetics.

Upon entering the hall, the audience notices that the walls are covered with photos of Arab children. The captions on the photos – include surprisingly in English – “Missing.” The opera begins with a man (ancient Egyptian) wearing blood-spattered Arab attire, slowly walking across the stage set carrying the body of a lifeless child. The first words sung are the chorus’ “Ah! chi ne aita?” (“Ah, who can help us?”). Simultaneously, a figure dressed in blood-spattered Arab attire appears at the audience front row. He leans over a spectator to show a photo of a missing (or dead) child. Soon, approximately twenty mournful actors appear at the back of the audience wearing blood-spattered Arab attire

Finally the truth comes out. The real victims of the Exodus were the Egyptians who just wanted to keep their Jewish slaves, much as modern day Arab Muslims just wanted to keep their Jewish and Christian Dhimmis.

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  • Softly Bob

    These ‘mind thugs’ who are butchering art in order to push their own disgusting agendas will one day have to explain themselves. I would not like to be in their shoes when that day comes.

    • Alex

      If one learns the history of pre- and post-Revolutionary
      “art” and destiny of these degenerates after the Russian Great
      October Revolution -> Most of them were/are natural whores and eagerly served a cannibalistic Red Terror regime for a “pot of lentil sup”. Those who had any talent and/ or soul – committed suicide, became swiftly- exterminated dissidents or immigrated. I bet, in Nazi Germany we’ll find the same exactly
      story.

      Arivederchi Italia! Chao, Europa! It was fun knowing you.

  • DogmaelJones1

    Western culture has become so bankrupt that all its hacks can do is cannibalize the achievements of the past, turn them into “icons,” and proceed to mock or destroy them or twist them into propaganda vehicles. How else to explain, for example, such outrages as outfitting Michelangelo’s David in Nike shoes or Jockey shorts. It began as long ago as that. But who would have thought that the West would produce the first Islamic “opera” (because there is no such thing as a Muslim opera composer, Allah forbid!), “Mose in Egitto,” literally ripped from
    Rossini’s opus. Vick and Nunn should not be allowed to get away with Hitlerian bowdlerization of Rossini’s work. But, given the reaction of the “establishment,”
    perhaps they will get away with it.

  • Aizino Smith

    Various artists have been doing this for decades. Berthhold Brecht wrote the play Mother Courage. He was a died in the wool communist. He wanted to make Mother Courage into a figure presenting the capitalist and then tear her down. It did not work. the audience empathized and loved Mother Courage.

    So Brecht did not write Mother Courage. He wrote and rewrote it and rewrote it. and he FAILED!

    The thing is that when directors and writers stick to archetypes, they succeed. When they subsequently get rich and try to do something leftists in flavor, they fail. and they keep going around and around chasing their tail. They are about as smart as a dog.

    We cannot say that this effort to shall pass and fail. We must confront it. We must lampoon it. We must criticize it point by point with facts at every point.

  • Well Done

    Not content with trying to normalize being queer, the idiot left in showbiz, (who we can only hope aren’t actually the majority of showbiz) for some reason, attack Christianity at the drop of a colostomy bag. One wonders why they don’t have any sort of attack plan for Islam. Islam certainly has plans for queers!

  • Veracious_one

    no doubt about leftist liberals must be closet terrorists of the highest order…

  • Andrew

    Well that’s just disturbing, it’s as if some were to make and “Spring Time for Hitler” as serious Broadway Show and not a cover for a con job.