Operas are all about tragic incidents.
Most operas have a body count.
Granted, the subjects of most are purely fictional, legendary, or, even in their time, ancient history.
With some notable exceptions, such as La Traviata, which though thinly veiled, opened just a few years after the real world tragedy on which it is based.
Its not wrong on the face of it to base such a work on recent events. The complaint in this case I suppose is that either the terrorists are seen sympathetically or the victim isnt.
“La Traviata” was about a Parisian Courtesan who tries to leave “the life” and who eventually dies of TB after her lover rejects her. It was based on a play “The Lady of the Camellias”.
Hardly a “World Event”. It did, however, cause a scandal at the time because it was about “Real people” in a contemporary setting.
“La Boheme” which was also about contemporary people living in Paris, was also criticized for being too “real”.
Neither of these were Polemical, Anti-Semitic, Revisionist Celebrations of terrorism, nor did they elevate enemies of America, and certainly neither of these named a victim of Terrorism while their family was still alive.
It is dangerous to make excuses for this travesty just because “Operas have a body count”. It is NOT the “Body Count” that is causing the objection.
What if it were YOUR Dad they were “singing” about?