I’m going to listen to all of Death of Klinghoffer but the opening chorus of exiled Palestinians offers a human but violently reductive reading of the Palestinian struggle.
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I mean the way the crescent moon line is developed as a fixation is persuasive and theatrically compelling, but also like... geez a really terrible way to imagine someone else’s faith.
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It just plays as like... a musical reading of the process of becoming a fanatic, how the energy of the broken house is transferred into the religious symbol, and the fusion of the two becomes this introverted, violent thing.
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But like... yuck! Again, what a shitty thing to say about somebody’s religion! “Your religion isn’t about religion it’s just a repository for grief-as-nostalgia-as-rage.”
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And yet... it is completely brilliant as a dramatic argument. Brilliant. I understand exactly what it means and I find it virtually impossible to put into words. What else do you want from music of the Western classical tradition?
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I wonder if American Jews recognize themselves more in “Your neighbor, the one who brought me in/she was brought up on stories of our love” than folks in the Palestinian diaspora recognize themselves in “the crescent moon” as a fixation?
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What would it be like to do a version of the chorus of exiled Palestinians about a white and/or European rage? Can we imagine white rage as a societal phenomenon, as a social sickness? Or is all whiteness individual, and everything nonwhite one match short of a mob?
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The ‘pass over’ reference in the libretto as a very confusing dramatic/dramaturgical status.
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End of conversation
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