Ahead of the Israeli premiere of Mieczyslaw Weinberg’s concentration-camp opera, Haaretz critic Amir Mandel has been speaking to the composer’s daughter about strange factors that occurred as he composed the opera in the mid-1960s.
Soviet policy at that period was a blend of anti-zionism and anti-semitism. Weinberg, his daughter says, discovered himself a topic of interest for the secret solutions. He was approached by mysterious strangers. He became nervous, unsettled. Somehow he completed The Passenger.
The opera was suppressed in the USSR. Weinberg, on his deathbed in 1996, declared that some day it would be noticed about the planet.
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