Opera v. truth: The fetid fouls of 'Death of Klinghoffer'

Phyllis Chesler says opera based on the act of terror which left Israeli citizen Leon Klinghoffer dead is anti Semitic, check out the piece.

I love opera. For almost three years, I regularly contributed to NPR's "At the Opera." I attend the Metropolitan Opera House as often as I can. But the decision to stage "The Death of Klinghoffer" represents an abdication of moral responsibility, political sensitivity and gravitas.
Met Opera General Manager Peter Gelb has a constitutional and artistic right to produce whatever he wants. Yet showcasing this opera is equivalent to a college president's inviting a member of ISIS, Hamas, or the Taliban to speak on campus because "all sides must be heard" and "all points of view are equally valid."
As a feminist, I wouldn't boycott an opera because the female heroes are betrayed, go mad or are murdered. As in life, our great operas are tragedies in which the heroes die.
But, where there are heroes there are also villains.
The villain in Puccini's "Tosca" is unmistakable: He is Scarpia, the police chief of Rome who tortures political prisoners and attempts to rape the great singer, Floria Tosca. We don't get a backstory about Scarpia's dysfunctional childhood, nor do we sympathize or identify with him.
He is a heartless villain and the opera doesn't allow (let alone ask) us to pity or sympathize with him. We are meant to fear and despise him, perhaps even hate him.