Since I could not justify spending hundreds of dollars for tickets to “The Death of Klinghoffer” at the Met, I did the next best thing, which was to take out a CD from the Columbia University library. Something told me that the work was a bit off, so I wanted to reduce my financial liability to a minimum—the price of a subway ride back and forth from my old workplace.
My goal was to come to terms with the opera as an artistic/political statement rather than comment on Zionist attempts to squelch it, as ably reported by Bill Dobbs in CounterPunch.
I first became aware of composer John Adams back in the 1970s when I was always on the lookout for works by minimalist composers like Steve Reich and Philip Glass. Since Adams was touted at the time as the new kid on the block, I made sure to pick up a recording of “Shaker Loops” when it came out in 1987, a piece like most of Reich and Glass that was calculated to appeal to the average listener as a kind of ear candy. As the classical music counterpart to Kraftwerk or Brian Eno, minimalism was about as close as you could come to the pleasure of pre-20th century classical music, joined on these terms later on by the neo-romanticism of composers like Henry Górecki.