Mozart in the Jungle: A Beautiful Dumpster Fire

Mozart in the Jungle: A Beautiful Dumpster Fire

There’s a moment in the first episode of Mozart in the Jungle when the camera cuts to a lively party in progress at a spacious New York City apartment. Young people are scattered throughout the room, which is abuzz with chatting and drinking. One character scratches a record back and forth on a turntable before the “Toreador Song” from Bizet’s Carmen begins to play over the speakers. Gleefully, the character shouts:

“Let’s get Biz-AYYY!”

It was then my suspicions were confirmed—this show was going to be a glorious mess.

The first season of Mozart in the Jungle dropped on Amazon Prime Video in December 2014. It continued for three more seasons before ending its run in 2018. Loosely based on Blair Tindall’s memoir of the same name, this fictional dramedy series follows the story of young oboist Hailey Rutledge (played by Lola Kirke) as she tries to make it in New York City’s vibrant and competitive classical music scene. Along the way, she must navigate musician egos, backstabbing, blackmailing, mounting expectations, and performance anxiety, not to mention lots of sex, drugs, and alcohol. Sounds fun, right?

Let’s call this one “Mozart in the Jungle out-of-context”

Whenever classical music appears in films or TV shows, the results are always a mixed bag. They either stretch the truth (as much as I adore Amadeus, it’s not the most historically-accurate portrait of Mozart or Salieri), present it as a symbol of the upper-class elite and/or notorious villains (hello, Mr. Bond), or just miss the mark entirely (nothing like trying to sell more Volvos with the music of an unhinged, manipulative mother who’s trying to get her daughter to kill someone). However, there are occasions when the media does get it right. (I’ve always been a fan of this iPad commercial starring Esa-Pekka Salonen.) So, the appearance of Mozart in Jungle sparked lots of excitement and trepidation in the classical community. Would the series finally get classical musicians—and the music itself—right for once?

Well, yes and no.

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