On stage at the Dutch National Opera, an elderly woman clutching a funeral urn containing her husband’s ashes stands on her balcony on a luxury cruise ship, gazing out at the imagined ocean.

She is dressed neatly in a blue dress with a red sash, and seems serene, until she catches a glimpse of a woman with long dark hair on a veranda below. Suddenly, she is catapulted into a memory, and a younger version of herself wearing the same dress appears on the balcony beside her.

The widow and her younger self are both Lisa, a German woman who holds a terrible secret. During World War II, she served as a Nazi camp guard in the women’s barracks at Auschwitz — a fact her husband, a German diplomat, did not know.

Seeing the dark-haired stranger triggers a flood of emotions, and Lisa is suddenly wracked with fear and guilt. She thinks she recognizes the woman as Marta, one of her former concentration camp prisoners. Could she possibly still be alive?

This is the beginning of Mieczysław Weinberg’s opera, Die Passagierin, (The Passenger), which opened Friday, April 17 at the Dutch National Opera and runs through May 2. The production, created in collaboration with the Bayerische Staatsoper (Bavarian State Opera) in Munich, where it premiered in 2024, is a modern adaptation of an opera that has been hailed as a forgotten 20th-century masterwork.

This extraordinarily powerful opera is by turns lyrical and overwhelmingly forceful, as it delves into the profound torment experienced both by the Holocaust’s helpless victims and their guilt-plagued tormentor. It presents Lisa with a surprising degree of compassion, but does not downplay her complicity, offering, instead, a twist at the end that reminds us who suffered most.

“You essentially hear mass killings, and later in the piece he shifts from such obvious descriptive writings and the music is much more a reflection of the internal world of the characters,” said Adam Hickox, the conductor of the Dutch National Opera production.

“It’s an illumination of Lisa’s internal world, then as we’re introduced to the prisoners in Auschwitz, an illumination of their experiences. You’ve got brutality and you’ve got sparseness and you’ve got lounge jazz, and all of this he puts together into one coherent whole.”

The Dutch production, directed by Tobias Kratzer, is only slightly changed from the Bavarian Opera’s version, with adaptations for the voices of the new cast of singers, said Hickox, including outstanding performances by soprano Sylvia D’Eramo (Marta), baritone Gyula Orendt (as her fiance, Tadeuz), and mezzo-soprano Jenny Carlstedt, as Lisa.

The first act takes place on a modern ocean liner, while the second act is set in a dining hall which serves as a set for the moments in the 1960s, and in flashbacks to a Nazi banquet hall in 1944, when Lisa is transported into her horrifying memories of the war.

The opera was based on a 1962 novel, Pasażerka, by the Polish author Zofia Posmysz, a Roman Catholic resistance worker during World War II who was arrested at age 19 by the Gestapo in 1942 and sent to Auschwitz. After the war, she became a journalist and award-winning writer and lived mostly in Poland, until she died in Oswiecim at age 98.

Posmysz came up with the idea for the story when she was a journalist on assignment in Paris in 1959, said Laura Roling, the production dramaturg at the Dutch National Opera. She heard someone calling something out in German, and she said she felt “nailed to the ground,” because it was the same tone and pitch as the voice of her captor in Auschwitz.

“What Posmysz did was to shift the perspective,” said Roling. “What if the guilty party were to recognize the people they have wronged, and what would that mean in terms of perpetratorship and guilt, and conscience?”

It was an unusual literary strategy — few novels had attempted to tell a Holocaust story from a perpetrator’s perspective; in the 1950s, the French novelist Robert Merle published La Mort Est Mon Métier (Death Is My Trade) based closely on the life and career of S.S. officer Rudolf Hoess, but such books were rare. Although Pasarzerka was very popular at the time, translated into more than a dozen languages and a Polish feature film, Posmysz received criticism for her approach.

“Trying to make a perpetrator into someone you can comprehend also makes them human,” said Roling. “It defies very clear black-and-white, good-and-evil boundaries. If you can say perpetrators were inhuman, they were monsters, that’s it. But we know that in reality they were human beings, who also did the most inhuman things. So it’s important to ask: How could they live with themselves afterwards?”

Weinberg, a Polish Jewish composer, who lost most of his family during the Holocaust, “experienced it as a duty as a survivor to somehow incorporate what happened into his work,” said Roling.

A musical prodigy, Weinberg (sometimes spelled Vainberg or Vaynberg as a transliteration from Cyrillic), was a musical prodigy who entered the Warsaw Conservatory at age 12 to study piano. When Germany invaded Poland in 1939, he fled on foot to Minsk; the rest of his family was murdered.

In the Soviet Union, Weinberg continued to face antisemitism; he was followed by the Secret Service and arrested in 1953 and accused on trumped-up charges, according to Roland, of a conspiracy to create a Jewish state in the Crimea. There was apparently no evidence that he was involved in any such conspiracy, and he was released after a couple of months, when Stalin died.

He completed his operatic adaptation of the novel in 1968 for a production that was planned to open at the Bolshoi Theater in Moscow. For reasons that are still not entirely known, said Roling, the performance didn’t take place. It was produced for the first time in 2006, ten years after the composer’s death.

Die Passagierin’s concert premiere took place in Moscow at the International House of Music. After its first full staging at the Bregenz Festival in Austria, in 2010, critics hailed it as the “rediscovery of the year.”

The Forward’s Benjamin Irvy described the satisfaction, in 2010, of seeing “a long-underrated composer finally receiving a deserved place in the sun.” The production subsequently moved on to London, Warsaw and Madrid, and later New York and Chicago.

During his career, Weinberg composed some 150 works, including several operas, 26 symphonies, and 17 string quartets, according to the Berlin Philharmonic. The composer Dmitri Shostakovich praised Die Passagierin for its “beauty and grandeur.”

Subsequent productions have varied in the way that they have approached Holocaust imagery. A 2024 version at the Teatro Real in Madrid had some singers in striped shirts with shaved heads, and others in SS uniforms.

The Dutch National Opera’s version leaves more to the audience’s imagination, with all the players in both 60’s fashions and contemporary garb for the parts in the present; the concentration camp victims are in all black. Creating that distance from the facts of the Holocaust somehow makes the scenes even more poignant, as one calls to mind the real horrors without any prodding.

Conductor Adam Hickox said that Weinberg’s music has, until very recently, been under-appreciated. “The fact that he was a Jew meant that he was under increased Soviet censorship,” he explained. “He did have a certain amount of recognition in his life but it was short lived.” Only in the last several years, he said, has his enormous output been recognized, and his work been revived and championed.

A certain reluctance to produce Die Passagierin may also have something to do with a fear that any art about the Holocaust was somehow taboo in Europe, and among first and second-generation survivors. For the first two decades following World War II, there was a general feeling that creating art about the Holocaust would not be in good taste.

“In the 1960s, both survivors and perpetrators were still around and, of course, dealing with their own histories, responsibilities, or traumas,” said Roling. Today, she added, “There are still a lot of family secrets or even stories that have been lost because the people you could ask are no longer alive.”

This Dutch National Opera’s production of Die Passagierin may give some audience members a chance to open up conversations they haven’t had before, Roling said. “It’s a way into being able to discover what happened, what did my family do?” she said. “And also ask a question: What could a person do?”

Roling said the opera certainly does not let anyone off the hook for their behavior, but it might give some people pause when they consider their own actions today.

“I wouldn’t call it a cautionary tale, but it’s important to remember that nowadays we aren’t immune to this behavior, either,” Roling said. “It’s easy to think this was a specific time and place, and it couldn’t happen again, but I’m afraid that’s not true.”

The post In a forgotten 20th century masterwork, a Holocaust story from the perpetrator’s perspective appeared first on The Forward.

From Ana Kasparian’s claim that Israelis are despised worldwide for “thinking you’re G-d’s chosen people” to Roger Waters’ unhinged assertion that Israelis seek to first take over the Middle East and then rule the world because they see themselves as the “chosen people,” you have likely come across similar screeds on social media.

Few phrases in Judaism have been so persistently misrepresented as “the Chosen People.”

It is routinely weaponized against Jews and Israel, invoked as supposed proof of Jewish supremacism or racial hierarchy.

In this telling, Jewish identity is reduced to a claim of inherent superiority, in direct contradiction to the Bible’s core teaching that all humans are created in God’s image.

 

This distortion is not accidental. It reflects a broader tendency to force Jewish history and theology into categories that do not fit, particularly a modern racial lens that is both historically and conceptually misplaced.

That lens becomes especially grotesque when applied in the shadow of the Holocaust, which is itself often misappropriated in contemporary discourse. The accusation is inverted: the victims of a racial ideology are recast as its inheritors, with “chosenness” presented as evidence of exclusion, purity, or dominance.

First, this argument ignores a basic reality: Jews are not a race. Jewish communities span continents and cultures, from Ethiopian to Indian to European and Middle Eastern, bound not by racial homogeneity but by shared history, law, and tradition.

More fundamentally, it misunderstands the meaning of the term itself.

So what does it actually mean to be “chosen”?

The concept originates in the Torah, most explicitly in Exodus 19:6, at Mount Sinai, where the Israelites are described as a “holy nation” and enter into covenant with God through the giving of the Ten Commandments. It is reiterated in Deuteronomy 7:6, where they are called a “treasured people.”

But “chosen” in this context does not denote privilege in the modern sense. It denotes obligation.

It is a designation tied to covenant, a binding commitment to a specific set of laws, ethical demands, and responsibilities. Far from elevating Jews above others, it imposes a burden: to live according to a demanding moral and religious framework, and to serve as a model of ethical conduct.

The idea reaches back to Abraham in Genesis and to the emergence of the Israelites. In Jewish tradition, Abraham is the figure who recognizes one God and rejects the pagan world around him. That matters because the ancient Near East was overwhelmingly polytheistic. Egyptians worshiped a vast pantheon of gods with different powers and domains; Mesopotamian religion centered on multiple deities embodied in cult statues housed and served in temples, and the Greeks likewise appealed to different gods for different realms of life and nature.

In Jewish tradition, Abraham is the first great monotheist, the figure who recognizes one God in a world dominated by idol worship. That belief becomes the foundation of Jewish faith and practice, expressed most clearly in the central declaration of God’s oneness that underpins Jewish prayer.

The God Abraham recognizes is not a local or limited deity, but the Creator of everything: heaven and earth, day and night, and all living things. That idea alone marked a radical break from the religious norms of the ancient world.

Abraham is also understood to have paid a price for that belief. He rejected the idols of his time, broke with the society around him, and left his homeland in response to God’s command, entering into a life defined by faith and uncertainty.

And this is the crucial point often missed. The Biblical story is not one of a people passively selected as superior, but of a family, and later a nation, entering into a binding relationship with one God and accepting the obligations that come with it.

That obligation has had consequences far beyond the Jewish people themselves. Two of the world’s largest faiths, Christianity and Islam, emerge from this tradition. Both are rooted in the idea of one God and draw directly on core elements of the Hebrew Bible. The concept of ethical monotheism, first articulated in Jewish tradition, did not remain confined to one people. It reshaped the religious landscape of much of the world.

“Chosenness,” then, is not an abstract or inward-looking idea. Its influence has been global.

In the Bible, the relationship between God and humanity is not static. It is dynamic, and at times contested. God is not presented as distant or arbitrary, but as a being with whom humans can argue, plead, and reason.

We see this most clearly in the story of the destruction of Sodom and Gomorrah, where Abraham challenges God’s initial judgment, pressing the case that the innocent should not be destroyed alongside the guilty. The episode is striking not because Abraham “wins,” by reducing the threshold to ten righteous individuals, but because he argues at all. It establishes a model of moral engagement, not passive submission.

Elsewhere, the Bible repeatedly shows that covenant comes with conditions. The Israelites are not portrayed as unconditionally elevated, but as accountable. In the story of the spies, their lack of faith leads to a generation being barred from entering the Promised Land. Even Moses is not exempt from consequence.

The message is consistent. “Chosen” does not mean guaranteed. It means bound by responsibilities. In a modern context, that responsibility includes building a just society, resisting oppression, and protecting the vulnerable; to honor human dignity in law, economics, and war; to safeguard creation rather than exploit it; and to pursue truth and integrity in public life, even when it is costly.

Nor is this covenant entirely closed. The Hebrew Bible recognizes righteous individuals outside the Jewish people, and Jewish law has long held that converts are fully part of the nation, with no lesser status. Entry into the covenant is not racial, but defined by commitment.

The phrase “Chosen People” has become a rhetorical weapon, deployed to accuse Jews of the very worldview their tradition rejects.

A covenant of obligation is recast as a claim of superiority. A system built on law, restraint, and accountability is twisted into something racial and exclusionary.

But the distortion does not hold. “Chosen” in Judaism does not mean elevated. It means obligated.

And the refusal to understand that is not an intellectual failure. It is a choice.

The author is a contributor to HonestReporting, a Jerusalem-based media watchdog with a focus on antisemitism and anti-Israel bias — where a version of this article first appeared.

(JTA) — The school board president in a heavily Jewish suburb of New York City is facing calls to resign after flyers promoting a student-led Israeli culture club event were torn down and later found in a boys’ bathroom urinal last week.

The flyers advertised an “IsraelFest” event to celebrate Israel’s 78th Independence Day this week at Scarsdale High School. Among those posting photographs of the vandalism was the daughter of the board president, James Dugan. She added a caption: “Keep up the good work.”

The incident quickly drew condemnation from leaders within the school district of the heavily Jewish New York City suburb, including Superintendent Drew Patrick, who wrote in a letter to the community that the vandalism “places our collective sense of community in jeopardy.”

“We live in a time of rising antisemitism, political polarization, and a degraded civil discourse,” Patrick wrote. “I want the community to know that we take these complex challenges seriously and work to confront them every single day.”

Patrick said the district had already been developing a “clear, written set of guidelines regarding student speech and dress at school sponsored student activities,” which will be introduced at a Board of Education meeting on May 11.

Scarsdale High School Principal Kenneth Bonamo also decried the incident in a letter to the community on Friday, adding that the student government’s Instagram post advertising the event received “two replies criticizing the event using vulgar language.”

Bonamo said the school’s investigation into the incident was “active and ongoing,” and that officials were “currently interviewing students and reviewing camera footage to identify those involved.”

“The Israeli Culture Club was well within its right to plan this type of an event, for which they sought and received administrative approval,’ Bonamo wrote. “Denigrating the club’s efforts in this way is wholly inconsistent with our values, both as a matter of basic fairness to support appropriate and approved student activities and because these actions constitute antisemitism.”

The event promised “Israeli food (and pizza), drinks and desserts alongside Israeli music and games,” suggesting no focus on current events or geopolitics.

The incident comes as younger Americans increasingly adopt anti-Israel stances,  setting up clashes in places like Scarsdale, where many Jewish families have connections to the country and to Jewish communities. In 2024, two stores in a Scarsdale shopping plaza, one of which had a sign reading “We stand with Israel” in its window, were targeted with anti-Israel graffiti.

In his letter, Bonamo added that the school had received “concerns that the unlabeled map in the flyer seems to include disputed territories as part of the State of Israel.” The map did not delineate the West Bank and Gaza.

“This is a core conflict in this debate, one that is worthy of exploration in civil discourse, but responding in this way is still not appropriate,” Bonamo wrote of the map.

An online petition calling for the students responsible for the vandalism to face “meaningful disciplinary action” as well as for Dugan’s ouster nearly 1,000 signatures by Tuesday morning.

“When a Board member’s immediate family is directly connected to the approval, encouragement, or defense of antisemitic behavior, it undermines public confidence in the Board’s ability to lead fairly and credibly during moments of crisis,” the petition read. “For that reason, we call for the resignation of any Board of Education member whose household is implicated in supporting these acts.”

A separate petition calling for the school board to reject calls for Dugan’s resignation drew over 100 signatures.

Dugan appeared to address his daughter’s post in a letter to the school community on Friday, writing, “Recent events have provided a profound teaching moment for me as a parent and have impacted me and my family.”

He added, “As a parent, I will focus on healing my family. But as a school board member, my focus will continue to be on our students, our schools, and our educational program.”

The incident follows others at high schools in the region that have unsettled Jewish students and watchdogs. In February, a New York City high schooler was arrested for allegedly sending an email threatening to “kill all the Jews in this school,” and earlier this month, students at a Connecticut Catholic school were punished for making antisemitic posts about a rival hockey team.

This article originally appeared on JTA.org.

The post Flyers for ‘IsraelFest’ at New York high school ended up in a urinal. Now the school board president is facing calls to resign. appeared first on The Forward.