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

Posted By Daniel Greenfield On September 6, 2013 @ 10:32 am In The Point | 7 Comments

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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