I have watched hundreds of productions that were unworthy of the art of opera and marked by the inadequacy of the artists involved. Yet at no point could I have imagined that the opera "EDUSA," staged on Saturday, would feature on the same poster both Iskender Pala - a cultural icon of Ankara - and someone who saw no issue with appearing onstage in Israel wearing a military-style costume.
On May 31, 2010, the Mavi Marmara ship was attacked by Israel in international waters, and 10 Turkish citizens were killed. At the time, tensions between Türkiye and Israel were extremely high. Just eight months after the attack on the Mavi Marmara - while the vessel had been carrying humanitarian aid to Palestine - Caner Akın took the stage at the Tel Aviv Opera in February 2011. He performed the role of Tonio in Donizetti’s "La fille du régiment" ("The Daughter of the Regiment").
The soldiers in the opera originally represent the 21st Marine Infantry Regiment and are staged worldwide in French military uniforms. However, in Tel Aviv, Caner Akın appeared onstage resembling an Israeli officer, with a beret slung over his shoulder. He was the only one among the soldiers to wear the beret in this manner. I could never imagine that someone from Türkiye would dare to wear such a costume in Israel. As a Turkish opera artist, he did not object to this alteration during the height of the Turkish-Israeli crisis.
Perhaps his acceptance of the role was not merely an artistic decision but a political one, as taking the stage in Israel just eight months after the Mavi Marmara incident - if not out of ignorance - may be interpreted as a reflection of his detachment from the conscience of his own people and of a certain political alignment.
Indeed, just after performing in Tel Aviv, Caner Akın began teaching vocal studies at Anadolu University within the same year and three years later moved to Mimar Sinan University. Despite lacking experience and formal training in opera directing, he was abruptly declared an opera director in 2018 and went on to direct several children’s operas. He was then appointed to the director’s seat at the Istanbul State Opera.
I cannot help but wonder whether his appearance onstage in Israel in military attire played any role in this rapid rise. I have personally watched some of the works he directed and found that he is not sufficiently qualified to serve as an opera director.
Now, Caner Akın appears once again – this time as the director of an opera whose libretto is written by Iskender Pala, one of the country’s most popular authors and the Deputy Chair of the Presidential Culture and Art Policy Board. Frankly, in none of Pala’s interviews has there been any indication that he wished to write a libretto (opera script).
So, could it have been Caner Akın who suggested the idea of writing a libretto to Mr. Pala? If so, one might also infer that this was part of a calculated effort by Akın - who once appeared onstage in Israel in military attire - to strengthen his connections with Ankara. When the reference and the decision-maker converge at the same focal point, such relationships can serve as a special channel of endorsement for positions such as opera director or even general director. In this way, the opportunities sought in an opera singer’s career plan may arise almost automatically.
Whatever the answer may be, I find it both disturbing and astonishing to see the name of a respected writer - one who has taken a stance against Israel - appear on the same poster as an opera singer who saw no issue in performing in Tel Aviv in military attire. I would like to know whether Iskender Pala was aware of this.
On the other hand, in 2023, the musical "Fiddler on the Roof" ran for weeks on the stage of the Mersin Opera. The dramatic structure of this musical is built entirely upon Jewish belief systems and ways of life. The work is directly grounded in the religious practices of Jewish identity.
The main character is a milkman who constantly speaks to God and interprets his experiences within the framework of Judaism. Because Jewish religious laws occupy the very center of the musical, the connection between "Fiddler on the Roof" and Judaism is far from superficial. Elements such as Sabbath rituals are explicitly portrayed, with prayers extending even to the point of bargaining with God. The internal monologues take on the character of an encouraging spiritual reckoning.
Issues such as who marries whom, the role of women in society and family hierarchy are presented in a manner that encourages an affinity toward Judaism. Indeed, American culture editor Adam Langer once said of this musical: “After all, I am a father. By taking my son to 'Fiddler on the Roof,' I gave him an easier introduction to Judaism than any Hebrew school could.”
"Fiddler on the Roof " remained onstage in our country even after Oct. 7, when Israel launched attacks against Palestinians. It toured both the Efes Festival and Istanbul. If opera artists are civil servants, then deterrent measures must be taken by administrators. Such productions, which generate sympathy for Israel, must not be allowed to disguise themselves under the cover of art and turn into instruments that strike at the conscience of humanity.
Similarly, another opera artist, Tuncay Kurtoğlu, performed on Nov. 16, 2023, in the opera "Nabucco," a work embraced by the State of Israel as a means of legitimizing its position. Beyond its role as a symbol of Italian nationalism, the opera has been appropriated by Israel to construct a sense of historical continuity between Jewish life in the ancient Holy Lands and the modern Jewish state.
Opera may no longer possess the power to alter the course of events; however, an artist employed by the State Opera and Ballet must be fully aware of what he is expressing and which cause he serves when portraying the High Priest in Verdi’s "Nabucco."
It must also be questioned why Kurtoğlu - whose performance I previously evaluated in my critique of "Don Giovanni" was invited to Spain to perform in Nabucco despite his voice having lost its vitality. For a Turkish artist, this situation should stand as a mark of professional disgrace.
At a time when the Palestinian people are enduring immense suffering, choosing to perform in an opera perceived as advocating for Israel is a decision that is difficult to justify. Even more striking is that Kurtoğlu proudly shared this role on social media, and that it was met with admiration by certain circles.
While the state maintains a policy on Palestine, the implications of "Nabucco" within this context must not be ignored. Who authorized an artist receiving a state salary to travel abroad and perform in such a work?
If the general director of opera or the relevant authorities granted permission unknowingly, this in itself constitutes a serious issue; if permission was granted knowingly, an immediate investigation must be launched. Because art must never serve as a shield for the oppressor.
