Kritiker und Publikum feierten „Mozart in the Jungle“, dennoch beendete Amazon das Format und „Mozart in the Jungle“ Staffel 5 wurde nie. Ein eigenwilliges Genie hält New York (und die Serienwelt) in Atem: Erleben Sie Golden Globe-Gewinner Gael Garcia Bernal als mexikanischen Stardirigenten. Die Sendung blickt hinter die Kulissen eines Symphonieorchesters und zeigt, wie `Sex, Drugs und Classical Music' funktioniert.
„Mozart in the Jungle“ Staffel 5: Deshalb wurde die Serie abgesetzt"Mozart in the Jungle" gehört zu denen, die man leicht übersieht - zu Unrecht, findet unsere Kolumnistin Ulrike Klode. Und doch ist es keine. Ein Star am Scheideweg: Nach Rodrigos triumphalem Debüt als neuer New Yorker Maestro erhält sein Ruhm zunächst einen empfindlichen Dämpfer. Neben. A new Amazon Original Series: What happens behind the curtains at the symphony is just as captivating as what happens on stage. Created by Paul Weitz.
Mozart In The Jungle Movies / TV VideoGael García Bernal, Monica Bellucci \u0026 Lola Kirke on \ Die Sendung blickt hinter die Kulissen eines Symphonieorchesters und zeigt, wie `Sex, Drugs und Classical Music' funktioniert. Mozart in the Jungle ist eine US-amerikanische Fernsehserie. Sie wurde von taiokc.com für die Amazon Studios produziert und ist über den Streaminganbieter. Ein eigenwilliges Genie hält New York (und die Serienwelt) in Atem: Erleben Sie Golden Globe-Gewinner Gael Garcia Bernal als mexikanischen Stardirigenten. Ein Star am Scheideweg: Nach Rodrigos triumphalem Debüt als neuer New Yorker Maestro erhält sein Ruhm zunächst einen empfindlichen Dämpfer. Neben.
Shelves: music , biography. Her experience in the field is very wide, having played with the New York Philharmonic and every other major and minor orchestra and chamber music ensemble in the Tri-State area, as well as an oboe soloist.
She also played for years in the pit for Broadway hit musicals, such as Miss Saigon and Les Miserables , and in the studio recording music for Hollywood hit movies as well as jingles.
Another challenge for musicians is having to work almost all evenings in an orchestra pit when other people are eating dinner, socializing or, a few, attending the concerts.
This severely limits the social contacts the musicians have. An important part in the book is played by Allendale, a large and decaying building on the Upper West Side bordering to Harlem, which has long been a home for classical musicians and where she herself lived for almost two decades.
Seeing the others, she became concerned about her own future and her own increasing consumption of cheap wine, which started in the afternoon before whatever concert she had to play.
The competition among classical players is fierce for the relatively few regular orchestra jobs. For instance, in , 1, musicians applied for a total of 47 full-time orchestral positions in all of the United States p.
Over several years, Tindall competed for these jobs and participated in auditions for orchestras all over the country. She calculates the thousands of dollars she used for flying to attend the auditions.
For most of her career, she subbed for the numerous bands in the New York City area, at times zipping from New Jersey to Poughkeepsie several times in a week.
In the beginning of her career, she slept with three of the leading oboists in the city, which initially led to her being a favoured substitute.
This later backfired, as the relationships faded and her name dropped down on the list the orchestras would call. This by no means was a reflection on her ability as a professional musician.
Despite the clean image classical musicians have among general audiences, Tindall demonstrates how drug and alcohol use among them is as widespread as among rock musicians.
The classical music community is also quite promiscuous. Tindall describes orgies that entire orchestras on tour participated in. When AIDS first arrived in the s, it became a major scourge amongst the musicians.
The New York City Opera alone lost 75 employees to the disease p. She herself goes through a large number of lovers, several of them married: oboists, other musicians, conductors.
The main relationship she writes about is with Samuel Sanders, the piano soloist and long-term accompanist of Itzhak Perlman, who over many years moves from a lover to a friend.
All in all, Tindall and other female musicians have a hard time finding mates as their lives are limited by the jobs they take. She finally finds love and happiness from outside of the musical community, with a scuba diving instructor she meets during a Caribbean holiday, but this relationship is also doomed to failure.
In the process of telling her own story, Tindall includes interesting and enlightening passages about the rise of classical orchestra music in the US, largely as a consequence of immigration of Jewish and other people from Europe before and after World War II.
These Europeans had lived with and loved classical music and many played in amateur orchestras they started in the new country.
Since the s, there was a huge boom in the States, as cities and philanthropies supported the music, seeing it as a major cultural duty.
Tindall describes the role of organizations, such as the Rockefeller Brothers Fund and Ford Foundation, in promoting classical music and draws conclusions of how such external assistance is unsustainable.
The number of orchestras expanded manifold and many smaller towns established full-time orchestras as a symbol of their cultural value.
Why classical music? Why orchestras? Is the expense worthwhile? At the same time the highly unionized musicians pushed for longer concert seasons, full-time employment with orchestras and increasing benefits.
The audience numbers did not keep up with such rapid expansion and virtually all orchestras and concert halls, starting with the Lincoln Centre, operated at a loss and were highly subsidized with public money or by foundations.
The number of orchestras making a major deficit increased rapidly and many, especially outside of the major cities, went outright bankrupt in the s.
The dire conclusions of an exhaustive study evaluating the financial future of the classical music industry were rejected by the American Symphony Orchestra League that had commissioned it.
For an evaluator like myself, albeit in an entirely different field, this sounds too familiar. Sure enough, the tech boom and resulting stock market rise temporarily saved the classical music industry that went on a huge spending spree as the endowments suddenly grew.
From the s on, lucrative studio work was getting scarcer for musicians with the rise of synthesizers that could emulate the sounds of entire orchestras through their MIDI samples of real instruments, thus resulting in savings to the producers.
Even on Broadway, live orchestras were relegated further down in the setting. The pits got deeper and some even played in covered pits so that the audiences could not see them at all, their music piped to the hall through amplifiers.
The tedium of playing in such a manner, night after night performing the same pieces hundreds of times per year, was dulling and many musicians were drunk or on drugs to keep up with it this has been confirmed by my own friends who have played on Broadway.
Many musicians had completely unrelated reading materials on their music stands, playing their parts on a routine born from having performed the same piece thousands of times over several years.
In , the musicians union negotiated an agreement that would prevent productions from further reducing the number of live musicians on Broadway for the next 10 years.
Tindall puts much blame on the music industry and its various players. The musicians themselves and their union are not innocent either, as they negotiated better and better deals, with ever expanding full-time employment and longer seasons that ran up the supply of music far beyond the demand.
The managers of orchestras and halls, most of whom were businessmen rather than musicians, developed marketing schemes that focused more on star soloists and conductors, rather than the music.
This created a huge rift between the orchestra musicians and the stars, who would make tens of times more money than the regular players. Similarly, the executives running the orchestras received extremely high salaries.
As classical music sales, that had always been just a small percentage of overall record sales, plummeted, the record companies started to market the CDs based on sexy young stars who would pose on the covers in revealing clothing.
Tindall well understands why the buying audience with limited knowledge of classical music faced with a large selection of recordings of the same pieces would pick one with Sarah Chang or Midori on the cover, rather than one of the many with stodgy white men posing in a tuxedo.
Overall, Tindall asks why is classical music so strange and dull to the general audiences. She also asks why are there so many recordings of the same old pieces and why does every orchestra record the same works over and over again.
She starts looking for a way out and embarks on an intensive period of study with math books on her music stand in the Broadway pit , eventually going back to school.
Stanford allows her to change her scene entirely and life on the West Coast brings new motivation for her to clean up her act. Tindall is very critical of music education that is so narrowly focused that students and later musicians learn no skills beyond music.
Juilliard, Manhattan School of Music and other famous institutions are more trade schools than universities. Tindall thinks that a student would be better off majoring in music at a liberal arts college, such as Oberlin, where she gets a broader education that will not close doors from other occupations than just music.
Passing a group of students outside of Juilliard, she ponders how only a few of these highly talented musicians will make it as soloists or conductors or even get regular orchestra jobs, while most end up scraping together a living out of temporary gigs or find themselves non-professional office jobs for which their narrow musical education will suffice.
Back in New York, Blair Tindall writes about music for the New York Times and about other topics for other papers. She still plays the oboe and subs in orchestras, but with renewed vigour and enthusiasm as she no longer needs to do it to make ends meet.
She ends the entertaining and informative book with some hopeful notions. Perhaps, the situation has again changed since the book was published in Orchestras and music do continue to play an important resource for the communities.
Hopefully, they will be more accessible to more people. Apr 24, Heidi rated it liked it Shelves: goal , memoir-biography. Overall, it was a fascinating yet fairly depressing look at the classical music world as experienced by the author.
As someone who never got past her first year playing clarinet in middle school and can't sing either despite a love for all things Broadway and some things classical , I especially enjoyed the fairly in-depth look at the history of classical music patronage and industry in America.
That said, the name dropping became mind numbing and the author's shallow relationships and justific Overall, it was a fascinating yet fairly depressing look at the classical music world as experienced by the author.
That said, the name dropping became mind numbing and the author's shallow relationships and justification for some seriously narcissistic behavior was tiring.
Sure she was badly used as a young music student, but she repeatedly uses others to gain her way onto the stage.
Sure the system seemed rigged against her but I didn't see much in the way of self-reflection until what career she eked out was seriously on the rails.
Was it readable- yes. Was it interesting- yes. Did I learn new stuff- absolutely. But I didn't like many of the people we're introduced to, and I especially was ready to bid the self-pitying author farewell by the end of her memoir.
PS- I'll never think about the Broadway musicians playing in their "pits" the same way again Those experiences don't exist without you!!
View all 4 comments. Jul 15, Kim rated it it was amazing. Every word is true. She nailed it to the wall. Of course, no civilian will believe it.
Tindall began playing the oboe, a difficult but hauntingly beautiful instrument when played well, almost by mistake.
When they were handing out instruments alphabetically by last name in band, by the time they got to T there was only a bassoon and oboe to chose from.
The oboe being smaller she chose that. Somewhat intimidated by her academically overachieving brother who went to Exeter and with poor grades not to mention a boyfriend who would be closer, she opted to attend NCSA a new founded in school devoted to teaching professional musicians and ballet dancers.
Regretfully, she focuses more on the unwanted sometimes sexual attentions of her teachers this was a time when sexual harassment was more than prevalent and teachers would use the subjectiveness of musical grading to get what they wanted and boys, not to mention drinking and drugs, than on the intricacies of the oboe.
As someone who has played the piano, organ and french horn, I have no knowledge of woodwinds and would have liked to learn more.
But, nevermind. The musical education at NCSA was apparently quite good if at the expense of other academics and when they went to take the SATs some students had to ask was the SAT was.
A test given on Saturdays? They were prepared for little else. When those affairs fell apart inevitably as they were married and everything was always supposed to be kept secret the jealous reactions would lead to her lack of employment.
Coupled with many of her friends and acquaintances dying from AIDS this was the early eighties and at one time the list of dead friends topped one hundred when she quit keeping track it was a discouraging time.
Much of the book details the trials and tribulations of the orchestral world in general and orchestral musicians in specific.
Orchestras had proliferated during the sixties and seventies as federal grants provided the seed money, but soon it became apparent, especially during economic upturns and downswings, that paying musicians from revenue derived from ticket sales was often oxymoronic.
Another problem was too many musicians, often uneducated except for their instrument, were chasing too few gigs.
Those privileged few who made it through the auditions to get a position in an orchestra were usually life-tenured so few positions ever opened up.
Positions that did pay well like those on Broadway could be mind-numbingly boring, playing the same music over and over and over again; some players could read a book while playing the music.
As stages became larger and more front row seating was added to sell more tickets, orchestral pits became hellish holes, dark and removed from the performance and audience, almost an afterthought, as the music was piped out through speakers.
For long-running shows she played for Les Miserables and Miss Saigon among others it was at least a dependable source of income, health and pension benefits.
Eventually, by her mid-thirties, Tindall realized she had to make a change having been unable to find a long-term relationship and becoming totally bored.
A job satisfaction study revealed that Orchestral musicians were near the bottom, scoring lower in job satisfaction and overall happiness than airline flight attendants, mental health treatment teams, beer salesmen, government economic analysts, and even federal prison guards.
Only operating room nurses and semiconductor fabrication teams scored lower than these musicians…. I was in a narcissistic industry that was stuck in the nineteenth century.
At that moment, I gave myself permission to escape. Their results were shocking: No reliable causal relationship was found between music education and academic performance except for spatial reasoning.
Creative thinking, verbal scores, and math grades were all unaffected by studying music. About the only common thread is the oboe.
I liked it, but the movie is better. Oct 08, Tina rated it really liked it. Trying to understand my concert pianist boyfriend's life better Blair Tindall wrote a terrific book about what it's really like to try to earn a living as a classical musician.
This book answers just about every silly question I ever had about how that career really works. Rate This. Episode Guide.
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Schneps Podcasts. Brooklyn Paper.Critics Consensus: Mozart in the Jungle concludes with a frothy fourth season that functions as a romantic comedy, bringing the sparks and offering a thoughtful view on the complications of mixing. Love, money, ambition and music intertwine in Mozart in the Jungle, a half hour comedic drama that looks at finding yourself and finding love while conquering New York City. A brash new maestro Rodrigo stirs up the New York Symphony as young oboist Hailey hopes for her big chance. Plot Summary | Add Synopsis. What we do know is that “Mozart In The Jungle” was dispensed with just a few weeks after Jennifer Salke was named as president of Amazon Studios in February. She replaced Roy Price in the position. Mozart in the Jungle (TV Series –) cast and crew credits, including actors, actresses, directors, writers and more. Mozart in the Jungle is an American comedy-drama web television series developed by Roman Coppola, Jason Schwartzman, Alex Timbers, and Paul Weitz for the video-on-demand service Amazon Video. The show received a production order in March