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Picking up where it left off, the show still centers on Rodrigo, the alternately imperious, needy, brilliant, eccentric and childlike maestro of the New York Symphony. Beyond an uncomfortable attraction to his assistant/oboist, Hailey, Rodrigo must fret about a possible strike by the orchestra, while embarking on a Latin American tour that is filled with temptations for various characters on multiple levels.
From the very first minutes of the new season, Mozart In The Jungle displays an invigorated energy that comes from knowing exactly what kind of show it wants to be.
Most [shows] seek to get it with flashy action sequences, stunt casting, or tenuous connection to some previously popular intellectual property, Mozart In The Jungle is a breath of fresh air because it so clearly has no interest in any of that.
Mozart in the Jungle raises so high above itself that it feels as if it might soar into the clouds. And then, inevitably, it comes thudding back down to earth.
When Mozart in the Jungle plays variations on its dominant theme of artistic temperament and passion, Amazon's sophisticated comedy about a New York symphony orchestra can be intoxicating in its originality and seductive charm.
Mozart tries to be a lot of things, some successfully: a drama, a comedy, an inside look at a creative industry-even a love letter to one, and one that many consider to be dying.