hough critics met Paris Opera’s new by English director and video artist Netia Jones with reviews ranging from lukewarm to scathing, I have rarely enjoyed Mozart’s so thoroughly. And while most expressed satisfaction at this newcomer ousting the much-decried 2004 production by Christoph Marthaler, they didn’t feel Jones’s measured up to others in recent memory—James Gray’s nostalgic rendition at the Théâtre des Champs-Elysées and the slapstick Lotte de Beer last summer at Aix-en-Provence held up as shining examples. Many were also a bit
