Mozart in the Jungle (2005), Blair Tindall’s unsparingly coarse portrait of a precarious life in classical music, opens with a cocaine-fuelled party in New York and glissandos downhill from there: “ ‘Wagner’s so far out. What’s with those Valkyries?’ said Milton, sneezing violently . . . He arranged a cocaine flower pattern on my toenail and snorted.”
To some she courageously lifted the lid on exploitation and sexual abuse in classical music 15 years before the #MeToo movement; to others she was the exploiter, dishing the dirt on what had been a cosy and consensual “what happens in Vegas stays in Vegas” approach in the industry.
As a professional oboist, Tindall was in demand among orchestras, chamber music ensembles and recording studios. She performed in