Adams' opera “The Death of Klinghoffer” demonizes Israelis and Jews as a group but not so Arabs or Muslims. Despite controversy and generally mediocre music, the opera persists. 
Showtime premium cable network vilified West Bank Jewish residents in a recent broadcast to tens of millions of viewers of its popular fictional Homeland melodrama series. Mandy Patinkin is a co-star/co-producer of the program. 
Potentially millions of public radio and online podcast listeners were recently subjected to a one-sided segment of the American Public Media (APM) weekly food show The Splendid Table that vilified West Bank Jewish residents.
One of the most controversial operas in recent memory, "The Death of Klinghoffer," which had its (New York) Metropolitan Opera debut on Oct. 20, is a vehicle for tendentious anti-Semitic and anti-Zionist slurs. When considered together with other operas by the same composer and librettist, it represents something more — a prejudicial obsession with Jews.
The only major newspapers to editorially comment following New York’s Metropolitan Opera cancellation of the international simulcast of "The Death of Klinghoffer," The New York Times and Boston Globe, are either unwilling or incapable of acknowledging the stark truth that demolishes their argument for support of the opera. 
New York’s prestigious Metropolitan Opera, under the leadership of Peter Gelb (pictured), on June 17 cancelled plans to simulcast the John Adams/Alice Goodman opera “The Death of Klinghoffer” on theater screens around the world, reducing the potential audience for this antisemitic work by hundreds of thousands. This comes immediately after CAMERA’s successful campaign which led to a deluge of protests via letters and phone calls to The Met, to the media, and to sponsors of the simulcast and the simulcast company. 
“Mr. Gelb, … it was with dismay and disappoint-ment that I learned that the Met had scheduled its first-ever performances of John Adams’s 'The Death of Klinghoffer.' Mediocre music … a tendentious story line and an inflammatory libretto that falsely maligns Israel and the Jewish people.” (From CAMERA’s open letter to Met Opera general manager).