Die preisgekrönte TV-Serie “Mozart In The Jungle” ist so etwas wie “Big Bang Theory” mit Musik statt Physik. Jetzt startet die zweite Staffel in. In Staffel vier von «Mozart in the Jungle» müssen Hailey und Rodrigo dies für sich herausfinden. Wie gut sind die neuen Folgen der Amazon-. Mozart in the Jungle: Wie geht es hinter den Kulissen eines Symphonieorchester zu? Kultiviert und gediegen wie auf der Bühne? Mitnichten, aber genauso .
Mozart In The Jungle «Mozart in the Jungle»: Mehr inhaltliche Frische als zuvor
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 inmagicartwebtv.eu 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. 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": Einfach nur sehr schön. Reicht das? © Amazon. Es gibt so viele Serien, dass es für eine einzelne schwer sein kann, vom. In der dritten Staffel der Amazon-Serie „Mozart in the Jungle“ tritt Monica Bellucci als Primadonna auf – auch alles andere ist fortissimo. Die preisgekrönte TV-Serie “Mozart In The Jungle” ist so etwas wie “Big Bang Theory” mit Musik statt Physik. Jetzt startet die zweite Staffel in.
Zur Zeit von Mozart war das nicht anders. Die Drehbuchautoren Alex Timbers, Roman Coppola und Jason Schwartzmann schaffen es, die. Die Sendung blickt hinter die Kulissen eines Symphonieorchesters und zeigt, wie `Sex, Drugs und Classical Music' funktioniert. "Mozart in the Jungle": Einfach nur sehr schön. Reicht das? © Amazon. Es gibt so viele Serien, dass es für eine einzelne schwer sein kann, vom.
Mozart In The Jungle - NewstickerUnd es ist offensichtlich, dass sich seine Figur am Leben und Schaffen von Gustavo Dudamel orientiert. Wie viele Zuschauer die Serie hat, ist indes ein gut gehütetes Amazon-Geheimnis.
Mozart In The Jungle Navigation menu VideoMozart In The Jungle: Rodrigo's best comeback (s04e06) Klassische Musik. Wir sind keine Roboter. FebruarUhr Leserempfehlung 1. Da ist nicht mehr die entscheidende Frage: Wer soll das alles Kino.To Alternativen Services: F. No one in the orchestra is prepared for what Craig Fallout 4 Far Harbor 18 episodes, Indeed, in the 70s and 80s, I also was a As with most of the books I read, I check out the reviews written by other Goodreads users either before or during the time I read the book myself. Series favoritas. Streaming TV: Renewed and Canceled. The Amazon Fallout Shelter Räume tells you what pieces Jesse James Film playing, which is a great added feature. Mozart in the Jungle: Wie geht es hinter den Kulissen eines Symphonieorchester zu? Kultiviert und gediegen wie auf der Bühne? Mitnichten, aber genauso . Zur Zeit von Mozart war das nicht anders. Die Drehbuchautoren Alex Timbers, Roman Coppola und Jason Schwartzmann schaffen es, die. In Staffel vier von «Mozart in the Jungle» müssen Hailey und Rodrigo dies für sich herausfinden. Wie gut sind die neuen Folgen der Amazon-.
She gives the real-life names of the participants in yawn-inducing sex scenes and wants the reader to be impressed by drugs - which would be fine if she were actually But the very world of classical music that promises so much to the young but more often delivers some sort of existential fucking if not the literal kind , has stunted Tindall's maturation process; she comes across as a something woman with the perspective and reflective capabilities of a year-old.
This is painful to realize while reading the book, but on the other hand, it helps make her point: She might as well have been on Mars for 20 years, for all that the NYC classical music scene is connected to real life.
And yet, Tindall is working so hard to make her point that the book succeeds on many levels. The sheer amount of research collected in the memoir is impressive, and her personal narrative prevents the boredom of reading a straight history of classical music in the past forty years.
I would wholeheartedly recommend this book not only to young musicians, but to any young person moving to New York City.
The horrors of waking up at 40 to realize the city is really nothing more than a real estate marketing scam!
It's horrifying enough to realize it at Reading this book was like watching a symphony performance--you're not really paying attention all of the time, but you don't get up to leave.
You might feel ambivalent about it, but you're not angry that you went. Jan 30, Emily Wortman-wunder added it. This is one of those books I find impossible to rate.
I mean, how many stars do you assign to "pissed me the hell off, but I really recommend you read it"? One star, due to the number of indignant internal rants it inspired?
Five stars, since it's one of the few books I can imagine pressing on strangers in the street--here! Find out what's wrong with Classical Music in America--or maybe not!
What do you think? So her This is one of those books I find impossible to rate. So here: read it! Just do! View 1 comment.
Oct 18, Juha rated it liked it Recommends it for: people interested in music and nonprofits. 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.
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. 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. 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. Tindall didn't hold back on sharing intimate details even when they painted her in an unflattering light.
This book is an amazing resource, and very well researched. Sep 19, Carissa rated it really liked it.
An easy and entertaining read. A must-read for female classical music professionals, as it discusses much of the situations in which we may find ourselves.
Feb 16, Rama rated it really liked it Shelves: biography. In this book, she delves into the lives of the musicians and powerful men and women who control the world of classical music.
Tindall spares no punches when she recalls her professional career full of hard-luck, pain, self-loathing, deceit, and total addiction to sex, drugs and alcohol.
As a freelance musician, she was introduced to cocaine parties and group sex in the decrepit apartments in and around the New York City.
She quickly learnt how to make it to those gigs at recitals and orchestras in the Big Apple. In fact she was natural at this; since the age of sixteen, she was using marijuana and sleeping with her instructors in high school for good grades and special favors.
When she played in New York, often she was drunk, hung-over and high on narcotics. The book is not simply a self-pitying memoir but also focuses on working musicians who struggle with low-paying jobs and financial insecurity.
The author takes to journalism when she failed in the classical music industry. Her resentment to a profession she loved so much did not offer anything but addiction to controlled substances.
Her disappointment is understandable, but what was she expecting when she decided to sleep her way to make it to the top? She hit the bottom like so many in the entertainment industry.
There are stories of hard-luck girls who learnt their lessons the hard way; Tindall is neither the first, nor is the last. There are too many books about drugs, sex and rock-N-roll music, but nobody is shedding tears about those parties.
Because it has been accepted as obvious choice in rock-N-roll music! But why is this problem for the lovers of classical music?
Tindall is no ordinary drug-addict. She is a smart girl, she taught journalism at Stanford University and music at the University of California, Berkeley.
She also studied at Columbia University. Her biggest success was when her book was picked up by the Amazon Studios for a television show with same title.
When the night is over, both of their lives will be forever changed. After a harsh verdict from Betty, Hailey is ready to give up on her dream.
But as the crowd fills the hall for opening night, Betty has gone missing. No one in the orchestra is prepared for what Discover what to watch this November including a Marvel docu-series, a '90s reboot, and a Star Wars holiday celebration.
Get some streaming picks. Title: Mozart in the Jungle — 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.
What an enjoyable series! I'm looking forward to more. I happened to encounter an image for it as I was researching a project. Malcolm McDowell, Bernadette Peters, and the premise captured my attention.
I'm so particular about what I watch that I often leave the TV off because of the degraded quality of programming on broadcast.
Even cable has saturated itself with unscripted fare that clones other unscripted fare. Where's the creativity? Where's that something different?
I found it on Amazon. The characters are important here, and I'm truly liking them because they are allowed to have shortcomings as much as they are allowed to soar with their strengths.
They are not predictable; they are multidimensional. Looking for some great streaming picks? Check out some of the IMDb editors' favorites movies and shows to round out your Watchlist.
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Release Dates. Official Sites. Company Credits. Technical Specs. Episode List. Plot Summary. Plot Keywords. Mozart with the Bacon.
Now, Fortissimo! Back in the city, Cynthia takes some pills for her wrist, and ends up seeing a co-worker in a whole new light.
Opening Night. After a harsh verdict from Betty, Hailey is ready to give up on her dream. Bonus: Mozart in the Jungle: Behind the Scenes.
The talented cast and crew introduce the company of characters that make up the NY Symphony Orchestra. Customers who watched this item also watched.
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There was a problem filtering reviews right now. Please try again later. Verified Purchase. Wonderful show. It took me a long time to watch it, because the early reviews gave me the impression that this would be just another show with characters who are addicted to sex and drugs and horrible to each other, and a temperamental maniac of a conductor.
Or, like that ballet show on Starz, so messed up and poverty stricken that they end up, not only addicted to sex and drugs and horrible to each other, but becoming strippers and prostitutes to make ends meet.
Mozart in the Jungle is the none of those things. It's a gentle comedy about world-class musicians who are dedicated to their music, actually seem to like each other, and while they have their occasional disagreements, are mostly kind to each other.
The drugs so far are very minimal, and mostly related to a cello player's pain killer for her injured hand. The sex has been low key, firmly rooted in plot and character, and we're not subjected to long, explicit scenes more appropriate to porn channels unlike most cable show these days , The music is beautiful, always new pieces every week and nicely woven into the plot.
It's mostly classical, but also some modern and Latin pieces. I love classical music, but for those who don't, there's never so much that you will get tired of it.
More like a tantalizing taste to give you an idea why some people find classical music so transcendent, that might have you looking up the pieces online to listen to more.
The Amazon app tells you what pieces are playing, which is a great added feature. The characters are so engaging, you end up liking even the more curmudgeonly ones.
The new maestro is amazing. He's supposed to be sort of a rock star in the classical world, but he's a sweet and kind and devoted to music and making the orchestra great.
The old maestro, who has been replaced, is also sort of a lovable guy.Da hat sich nicht viel geändert in den vergangenen Jahrhunderten. Tolle Serie! Ich Payday 2 Kostenlos ja Vier Federn die glaubhafte Darstellung eines Orchestermusikers in einer Serie kein abgeschlossenes Konservatoriums-Studium voraus, aber ein paar Stündchen Violine-Gruppenunterricht wären doch nicht zu viel verlangt? Tschechischer Absinth. Immer auf dem Laufenden Sie haben Post! Hailey wird im Laufe der ersten Staffel zu Rodrigos Assistentin. Startseite : 0 neue oder aktualisierte Artikel. Die dritte Staffel wurde am 9. Eine Opernsängerin zu spielen, ist kein Leichtes.