One of the terrorists—played by the only Black lead singer—is portrayed as an overt anti-Semite, expressing hateful tropes against "the Jews". But he is not the killer. Nor, in this opera, is Klinghoffer selected for execution because he is a Jew. Instead, he is picked because he is a loudmouth who can't control his disdain for the Palestinian cause.
At bottom The Death of Klinghoffer—a title deliberately selected to sanitize his brutal murder—is more propaganda than art. It has some artistic moments but the dominant theme is to create a false moral equivalence between terrorism and its victims, between Israel and Palestinian terrorist groups, and between the Holocaust and the self-inflicted Nakba. It is a mediocre opera, by a good composer and very bad librettist. But you wouldn't know that from the raucous standing ovations received not only by the performers and chorus master, who deserved them, but also by the composer, who did not. The applause was not for the art. Indeed, during the intermission and on the way out, the word I heard most often was "boring." The over-the-top standing ovations were for the "courage" displayed by all those involved in the production. But it takes little courage to be anti-Israel these days, or to outrage Jews. There were, to be sure, a few brief expressions of negative opinion during the opera, one of which was briefly disruptive, as an audience member repeatedly shouted "Klinghoffer's murder will never be forgiven." He was arrested and removed.
What would require courage would be for the Met to produce an opera that portrayed Mohammad, or even Yassir Arafat, in a negative way. The protests against such portrayals would not be limited to a few shouts, some wheelchairs and a few hundred distant demonstrators. Remember the murderous reaction to a few cartoons several years ago.