The opera – about the hijacking of a cruise by the PLF who murder a Jewish American wheelchair user – has been subject to protests and accused of romanticising terrorism. Why was the film-maker so desperate to stage it?
In a rehearsal room perched above the labyrinthine backstage of Florence’s starkly contemporary Maggio Musicale Fiorentino theatre, Luca Guadagnino is showing the women of the chorus how to make a second-act entrance. Dressed in a slouchy cardigan and slacks, the Italian director runs forward and stops short at a line of tape indicating the rim of the stage. A little out of breath, he turns past stretching dancers to conductor Lawrence Renes and asks if he minds the sound of stamping feet. “I never mind when we hear them talk, walk, breathe,” Renes says. “It’s live theatre.”
Better known for films like After the Hunt, Challengers and Call Me By Your Name, Guadagnino still sometimes punctuates stage rehearsals with instinctive cries of “Cut!” and “Action!”. But today he is directing an opera. It’s his second ever and his first in more than 15 years – and a highly controversial one to boot. The Death of Klinghoffer, a 1991 opera with music by John Adams and libretto by Alice Goodman, has sparked accusations of antisemitism whenever and wherever it has been performed. It depicts the 1985 hijacking of the cruise ship Achille Lauro by the Palestinian Liberation Front, their murder of disabled Jewish American tourist Leon Klinghoffer, and the grief and rage of his wife, Marilyn. The story is placed in a historical, even mythic, context.
