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The attention surrounding The Death of Klinghoffer has been full of controversy, specifically in the New York Times reviews.
After the 1991 premiere, reporter Edward Rothstein wrote that " Mr. Adams's music has a seriously limited range.
" Only a few days later, Allan Kozinn wrote an investigative report citing that Leon Klinghoffer's daughters, Lisa and Ilsa, had " expressed their disapproval " of the opera in a statement saying " We are outraged at the exploitation of our parents and the coldblooded murder of our father as the centerpiece of a production that appears to us to be anti-Semitic.
" In response to these accusations of anti-Semitism, composer and Oberlin College professor Conrad Cummings wrote a letter to the editor defending " Klinghoffer " as " the closest analogue to the experience of Bach's audience attending his most demanding works ," and noted that, as someone of half-Jewish heritage, he " found nothing anti-Semitic about the work.
" After the 2001 cancellation of performances of excerpts from " Klinghoffer " by the Boston Symphony Orchestra, debate has continued about the opera's content and social worth.
Prominent critic and noted musicologist Richard Taruskin called the work " anti-American, anti-Semitic and anti-bourgeois.
" Criticism continued when the production was released to DVD.
In 2003, Edward Rothstein updated his stage review to a movie critique, writing " the film affirms two ideas now commonplace among radical critics of Israel: that Jews acted like Nazis, and that refugees from the Holocaust were instrumental in the founding of the state, visiting upon Palestinians the sins of others.

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