{"id":72632,"date":"2022-11-29T00:00:55","date_gmt":"2022-11-29T05:00:55","guid":{"rendered":"https:\/\/operawire.com\/?p=72632"},"modified":"2022-11-28T12:55:08","modified_gmt":"2022-11-28T17:55:08","slug":"opera-national-de-paris-2022-23-review-le-nozze-di-figaro","status":"publish","type":"post","link":"https:\/\/operawire.com\/opera-national-de-paris-2022-23-review-le-nozze-di-figaro\/","title":{"rendered":"Op\u00e9ra National de Paris 2022-23 Review: Le Nozze di Figaro"},"content":{"rendered":"
(Credit: Charles Duprat \/ Op\u00e9ra national de Paris)<\/h6>\n

(This review is for performances on November 25 and 27)<\/strong><\/p>\n

Netia Jones\u2019 staging proves how much an ill-conceived mis-en-scene can affect the music, even when it is Mozart.<\/p>\n

In Portuguese, we say that Mozart\u2019s music must be as a perfect and smooth as a rare pearl. There is even an adjective \u201cperolado\u201d (pearled) to denote this inner quality of playing Mozart without any groove or joint. Until recently, I thought of this quality as inherently musical, but after seeing Netia Jones\u2019 staging, we have to accept that its implications are broader.<\/p>\n

Few artistic partnerships were as successful as da Ponte and Mozart\u2019s. Their operas are music and text in perfect symbiosis. “Le Nozze di Figaro,” an adaption of Beaumarchais\u2019s widely popular play, is a showcase of how great their work could be. The opera might be even better than the play, which is quite something given how good Beaumarchais\u2019s play is.<\/p>\n

In many ways, “Le Nozze” touches on many topics that resonate with preoccupations of our contemporary moment: sexual abuse, gender discrimination, social class tension, etc. Netia Jones\u2019 feminist take, on paper, should make sense. In a #metoo era, Mozart and Da Ponte\u2019s opera maintains its relevancy. However, the result in this production, however, is rather unexciting.<\/p>\n

A Disappointment<\/h3>\n

Netia Jones has transferred all the action to today\u2019s Op\u00e9ra Garnier. It is a theater-within-the-theater staging with many things happening simultaneously: Figaro sings his \u201cSe vuol Ballare\u201d while the Count himself grooms a ballerina to receive his abuse. The Countess sings her \u201cPorgi Amor,\u201d and, next door, another singer auditions for a role singing the same aria as the count.<\/p>\n

All the ideas emphasize the abuses of political and personal power by the Count, who may be a singer or impresario. It is all well-intention. But, to quote another Portuguese expression, “the road to hell is paved with good intentions.” It is as Jones felt that Mozart and Da Ponte needed some help to get their message out there, whereas they have in fact done a pretty great job on their own.<\/p>\n

Moreover, Jones managed to void most of “Le Nozze\u2019s” witty comedy. The opera now is about abuse; thus it cannot be funny. The few moments that actually elicited some laughs from the audience were precisely the scenes in the second act in which there were no parallel unwritten subplots. The singers, then, act as they would in any other staging of the opera, and, unsurprisingly, it works.<\/p>\n

To make Comedy work requires more technique than drama. Timing, stage presence, and confidence are essential. Jones weakens the comic effect by exposing her singers unnecessarily. They were subjected to needless stripping on stage, and complex stage choreography. \u00a0In the two performances, Sophie Koch, a good actor, missed her light marks during the third act sextet\u2026<\/p>\n

Not only is most of the comedy gone, but also the female personalities are weakened. The Countess is the saddest figure; she is even tempted to kiss Cherubino after he sings his love song. The focus on the abuser, with little effort to make him ridiculous, makes him the center of all attention and takes away much of Susanna, Barbarina, and even Marcellina\u2019s agency.<\/p>\n

There is a major problem underpinning Jones\u2019 work: a difficulty in dealing with social criticism that is not pornographically proselytist. Mozart and Da Ponte were figures of a very different time, but the strength of their critique remains because they endow their characters with complexes psyches. Despite their oppression, they experience desire, loss, and deception in complex ways.<\/p>\n

Emptying most of the opera of psychological innuendos and at the same time voiding the opera\u2019s foregrounding of the ridiculous, while filling the stage with parallel dramaturgy, weakens “Le Nozze\u2019s.” And it shows some political shortcomings of how we deal nowadays with non-simplistic approaches to oppression and desire. What makes us so afraid of Mozart and Da Ponte\u2019s operas?<\/p>\n

It is not just a matter of being against modern takes or productions; quite the contrary. Paris Opera has managed to bring new takes to “La Boheme” and “Salome<\/a>” that, even though out of the box, do unveil much of the operas\u2019 psychology. However, in modern production, we cannot throw out the baby with the bathwater.<\/p>\n

A few musical moments, however, might have been enlightened by Jones\u2019s rendering: in the end, when the Countess forgives the Count, she also hands him her wedding ring\u2014as if she has become a character who will now finally enjoy her single life, as in “Unmarried Woman.” Although possibly a bit pathetic, it was a way to stress the bitter sorrowfulness in Mozart\u2019s melody.<\/p>\n

Negatively Affected<\/h3>\n

Much of the singing is affected, negatively, by the staging, and little attention was paid to the text. In fact, sometimes the Italian was impossible to understand. More than a fault of one or another artist\u2019s skills, this was a sign of poorly focused direction. All these singers have performed their parts elsewhere with much more success. So, the problem was, undeniably, the Paris production itself.<\/p>\n

Miah Persson’s Countess was a tragic figure. She is a skilled performer and can gracefully carry the coloraturas in the second act\u2019s trio\u2014which is sometimes sung by Susanna. Her \u201cDove Sono\u201d might be deemed too sad, but I think that is more the fault of the staging than of her. I particularly enjoyed her lower range in her duo with Susanna during the \u201cCanzonetta sull\u2019aria.\u201d<\/p>\n

Few singers have a wider range and more colorful possibilities than Jeanine de Bique. Her voice has enchanted many in the baroque repertoire, and recently in Weber and Mozart. Compared to her 2021 \u201cAlcina,\u201d Bique\u2019s beautiful tone, however, did not project well in Palais Garnier\u2019s acoustics. She glowed in \u201cDeh vieni a non tardar\u201d\u2019 a cappella<\/em>, obtaining a rave applause.<\/p>\n

Luca Pisaroni might be the most requested Figaro nowadays. His Italian, obviously, is well-pronounced, and his Figaro is strong and witty. He does struggle with his higher register, though, which somewhat compromised his otherwise great \u201cSi vuol ballare, signor Contino.\u201d His best moment, however, was the fourth act aria.<\/p>\n

Gerald Finley was significantly more central in this production than usual. His characterization as a Harvey Weinstein type enabled him to showcase his abundant musical and dramatic capacities. He efficiently embraced the character\u2019s white man entitlement in \u201cVedr\u00f2 mentr\u2019io sorpiro.\u201d Otherwise intentionally inflexible, Finley tenderly phrased his \u201cContessa Perdono.\u201d<\/p>\n

Rachel Frenkel\u2019s Cherubino dresses in an orange sweatshirt on which is written \u201cnarsicetto\u201d in stylized letters. It was a fun touch, but I wondered how narcissistic her Cherubino could really be in this production. Although Frenkel’s \u201cNon so pi\u00f9 cosa son\u201d was solid, she shone in a \u201cVoi que sapete cosa \u00e8 amor,\u201d which actually seemed to understand much of the countess\u2019s soul.<\/p>\n

Ilanah Lobel-Torres sang a breath-taking \u201cL\u2019ho perduta\u201d that, in this staging, is an aftermath of her abuse by the Count.<\/p>\n

And Sophie Koch is, perhaps, too much of a singer to solely be Marcellina. She did not, unfortunately, sing her fourth act aria\u2014some of the recitativo lyrics were, nevertheless, projected onto the stage as a silent entr\u2019acte.<\/p>\n

The orchestra under the baton of Louis Langr\u00e9e, for the most part, sounded good.\u00a0 There were, however, some minor issues at the ends of arias. Miah Persson\u2019s beautiful piano at the end of \u201cDove sono\u201d was not matched by the pit, and the horns in \u201cAprite un po’ quegl’occhi\u201d were never fully in tune.<\/p>\n

The Mozartian \u201cpearled\u201d feature, indeed, was missing. That is a pity. Few operas are staged in the acoustically superior Op\u00e9ra Garnier, and the cast had some of the best Mozart singers of this generation. Maybe Jones\u2019 staging could work better with some few changes, for there were indeed some promising insights. If that happens, I will do my best to be there.<\/p>\n","protected":false},"excerpt":{"rendered":"

(Credit: Charles Duprat \/ Op\u00e9ra national de Paris) (This review is for performances on November 25 and 27) Netia Jones\u2019 staging proves how much an ill-conceived mis-en-scene can affect the music, even when it is Mozart. In Portuguese, we say that Mozart\u2019s music must be as a perfect and smooth as a rare pearl. There is even an adjective \u201cperolado\u201d {…}<\/p>\n","protected":false},"author":4,"featured_media":72635,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[8,73],"tags":[5672,313,7267,201,3119,673],"class_list":["post-72632","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-in-review","category-stage-reviews","tag-jeanine-de-bique","tag-le-nozze-di-figaro","tag-louis-langree","tag-luca-pisaroni","tag-miah-persson","tag-opera-national-de-paris"],"acf":[],"yoast_head":"\nOp\u00e9ra National de Paris 2022-23 Review: Le Nozze di Figaro - OperaWire<\/title>\n<meta name=\"description\" content=\"The Mozartian \u201cpearled\u201d feature, indeed, was missing. That is a pity. Few operas are staged in the acoustically superior Op\u00e9ra Garnier, and the cast had some of the best Mozart singers of this generation.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/operawire.com\/opera-national-de-paris-2022-23-review-le-nozze-di-figaro\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Op\u00e9ra National de Paris 2022-23 Review: Le Nozze di Figaro - OperaWire\" \/>\n<meta property=\"og:description\" content=\"The Mozartian \u201cpearled\u201d feature, indeed, was missing. That is a pity. Few operas are staged in the acoustically superior Op\u00e9ra Garnier, and the cast had some of the best Mozart singers of this generation.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/operawire.com\/opera-national-de-paris-2022-23-review-le-nozze-di-figaro\/\" \/>\n<meta property=\"og:site_name\" content=\"OperaWire\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/operawire\/\" \/>\n<meta property=\"article:published_time\" content=\"2022-11-29T05:00:55+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2022-11-28T17:55:08+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/operawire.com\/wp-content\/uploads\/2022\/11\/unnamed-2-3-1024x683.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1024\" \/>\n\t<meta property=\"og:image:height\" content=\"683\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"OperaWire\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@operawirenews\" \/>\n<meta name=\"twitter:site\" content=\"@operawirenews\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"OperaWire\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"6 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/operawire.com\/opera-national-de-paris-2022-23-review-le-nozze-di-figaro\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/operawire.com\/opera-national-de-paris-2022-23-review-le-nozze-di-figaro\/\"},\"author\":{\"name\":\"OperaWire\",\"@id\":\"https:\/\/operawire.com\/#\/schema\/person\/0771a298f78c136b8e83b54517acef2a\"},\"headline\":\"Op\u00e9ra National de Paris 2022-23 Review: Le Nozze di Figaro\",\"datePublished\":\"2022-11-29T05:00:55+00:00\",\"dateModified\":\"2022-11-28T17:55:08+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/operawire.com\/opera-national-de-paris-2022-23-review-le-nozze-di-figaro\/\"},\"wordCount\":1337,\"publisher\":{\"@id\":\"https:\/\/operawire.com\/#organization\"},\"keywords\":[\"Jeanine De Bique\",\"le nozze di figaro\",\"Louis Langr\u00e9e\",\"Luca Pisaroni\",\"Miah Persson\",\"opera national de paris\"],\"articleSection\":[\"Reviews\",\"Stage Reviews\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/operawire.com\/opera-national-de-paris-2022-23-review-le-nozze-di-figaro\/\",\"url\":\"https:\/\/operawire.com\/opera-national-de-paris-2022-23-review-le-nozze-di-figaro\/\",\"name\":\"Op\u00e9ra National de Paris 2022-23 Review: Le Nozze di Figaro - OperaWire\",\"isPartOf\":{\"@id\":\"https:\/\/operawire.com\/#website\"},\"datePublished\":\"2022-11-29T05:00:55+00:00\",\"dateModified\":\"2022-11-28T17:55:08+00:00\",\"description\":\"The Mozartian \u201cpearled\u201d feature, indeed, was missing. That is a pity. Few operas are staged in the acoustically superior Op\u00e9ra Garnier, and the cast had some of the best Mozart singers of this generation.\",\"breadcrumb\":{\"@id\":\"https:\/\/operawire.com\/opera-national-de-paris-2022-23-review-le-nozze-di-figaro\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/operawire.com\/opera-national-de-paris-2022-23-review-le-nozze-di-figaro\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/operawire.com\/opera-national-de-paris-2022-23-review-le-nozze-di-figaro\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/operawire.com\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Op\u00e9ra National de Paris 2022-23 Review: Le Nozze di Figaro\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/operawire.com\/#website\",\"url\":\"https:\/\/operawire.com\/\",\"name\":\"OperaWire\",\"description\":\"The high and low notes from around the international opera stage\",\"publisher\":{\"@id\":\"https:\/\/operawire.com\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/operawire.com\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/operawire.com\/#organization\",\"name\":\"Opera Wire\",\"url\":\"https:\/\/operawire.com\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/operawire.com\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/operawire.com\/wp-content\/uploads\/2020\/02\/favicon.png\",\"contentUrl\":\"https:\/\/operawire.com\/wp-content\/uploads\/2020\/02\/favicon.png\",\"width\":500,\"height\":500,\"caption\":\"Opera Wire\"},\"image\":{\"@id\":\"https:\/\/operawire.com\/#\/schema\/logo\/image\/\"},\"sameAs\":[\"https:\/\/www.facebook.com\/operawire\/\",\"https:\/\/twitter.com\/operawirenews\",\"https:\/\/www.instagram.com\/operawire\/\"]},{\"@type\":\"Person\",\"@id\":\"https:\/\/operawire.com\/#\/schema\/person\/0771a298f78c136b8e83b54517acef2a\",\"name\":\"OperaWire\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/operawire.com\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/08571a40ef987d291ffa2936cbac8682?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/08571a40ef987d291ffa2936cbac8682?s=96&d=mm&r=g\",\"caption\":\"OperaWire\"},\"url\":\"https:\/\/operawire.com\/author\/operawirestaff\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Op\u00e9ra National de Paris 2022-23 Review: Le Nozze di Figaro - OperaWire","description":"The Mozartian \u201cpearled\u201d feature, indeed, was missing. That is a pity. Few operas are staged in the acoustically superior Op\u00e9ra Garnier, and the cast had some of the best Mozart singers of this generation.","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/operawire.com\/opera-national-de-paris-2022-23-review-le-nozze-di-figaro\/","og_locale":"en_US","og_type":"article","og_title":"Op\u00e9ra National de Paris 2022-23 Review: Le Nozze di Figaro - OperaWire","og_description":"The Mozartian \u201cpearled\u201d feature, indeed, was missing. That is a pity. Few operas are staged in the acoustically superior Op\u00e9ra Garnier, and the cast had some of the best Mozart singers of this generation.","og_url":"https:\/\/operawire.com\/opera-national-de-paris-2022-23-review-le-nozze-di-figaro\/","og_site_name":"OperaWire","article_publisher":"https:\/\/www.facebook.com\/operawire\/","article_published_time":"2022-11-29T05:00:55+00:00","article_modified_time":"2022-11-28T17:55:08+00:00","og_image":[{"width":1024,"height":683,"url":"https:\/\/operawire.com\/wp-content\/uploads\/2022\/11\/unnamed-2-3-1024x683.jpg","type":"image\/jpeg"}],"author":"OperaWire","twitter_card":"summary_large_image","twitter_creator":"@operawirenews","twitter_site":"@operawirenews","twitter_misc":{"Written by":"OperaWire","Est. reading time":"6 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/operawire.com\/opera-national-de-paris-2022-23-review-le-nozze-di-figaro\/#article","isPartOf":{"@id":"https:\/\/operawire.com\/opera-national-de-paris-2022-23-review-le-nozze-di-figaro\/"},"author":{"name":"OperaWire","@id":"https:\/\/operawire.com\/#\/schema\/person\/0771a298f78c136b8e83b54517acef2a"},"headline":"Op\u00e9ra National de Paris 2022-23 Review: Le Nozze di Figaro","datePublished":"2022-11-29T05:00:55+00:00","dateModified":"2022-11-28T17:55:08+00:00","mainEntityOfPage":{"@id":"https:\/\/operawire.com\/opera-national-de-paris-2022-23-review-le-nozze-di-figaro\/"},"wordCount":1337,"publisher":{"@id":"https:\/\/operawire.com\/#organization"},"keywords":["Jeanine De Bique","le nozze di figaro","Louis Langr\u00e9e","Luca Pisaroni","Miah Persson","opera national de paris"],"articleSection":["Reviews","Stage Reviews"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/operawire.com\/opera-national-de-paris-2022-23-review-le-nozze-di-figaro\/","url":"https:\/\/operawire.com\/opera-national-de-paris-2022-23-review-le-nozze-di-figaro\/","name":"Op\u00e9ra National de Paris 2022-23 Review: Le Nozze di Figaro - OperaWire","isPartOf":{"@id":"https:\/\/operawire.com\/#website"},"datePublished":"2022-11-29T05:00:55+00:00","dateModified":"2022-11-28T17:55:08+00:00","description":"The Mozartian \u201cpearled\u201d feature, indeed, was missing. That is a pity. Few operas are staged in the acoustically superior Op\u00e9ra Garnier, and the cast had some of the best Mozart singers of this generation.","breadcrumb":{"@id":"https:\/\/operawire.com\/opera-national-de-paris-2022-23-review-le-nozze-di-figaro\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/operawire.com\/opera-national-de-paris-2022-23-review-le-nozze-di-figaro\/"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/operawire.com\/opera-national-de-paris-2022-23-review-le-nozze-di-figaro\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/operawire.com\/"},{"@type":"ListItem","position":2,"name":"Op\u00e9ra National de Paris 2022-23 Review: Le Nozze di Figaro"}]},{"@type":"WebSite","@id":"https:\/\/operawire.com\/#website","url":"https:\/\/operawire.com\/","name":"OperaWire","description":"The high and low notes from around the international opera stage","publisher":{"@id":"https:\/\/operawire.com\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/operawire.com\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/operawire.com\/#organization","name":"Opera Wire","url":"https:\/\/operawire.com\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/operawire.com\/#\/schema\/logo\/image\/","url":"https:\/\/operawire.com\/wp-content\/uploads\/2020\/02\/favicon.png","contentUrl":"https:\/\/operawire.com\/wp-content\/uploads\/2020\/02\/favicon.png","width":500,"height":500,"caption":"Opera Wire"},"image":{"@id":"https:\/\/operawire.com\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/operawire\/","https:\/\/twitter.com\/operawirenews","https:\/\/www.instagram.com\/operawire\/"]},{"@type":"Person","@id":"https:\/\/operawire.com\/#\/schema\/person\/0771a298f78c136b8e83b54517acef2a","name":"OperaWire","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/operawire.com\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/08571a40ef987d291ffa2936cbac8682?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/08571a40ef987d291ffa2936cbac8682?s=96&d=mm&r=g","caption":"OperaWire"},"url":"https:\/\/operawire.com\/author\/operawirestaff\/"}]}},"wps_subtitle":"Despite Solid Cast, Netia Jones' Production Undercuts Mozart's Masterpiece","_links":{"self":[{"href":"https:\/\/operawire.com\/wp-json\/wp\/v2\/posts\/72632"}],"collection":[{"href":"https:\/\/operawire.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/operawire.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/operawire.com\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/operawire.com\/wp-json\/wp\/v2\/comments?post=72632"}],"version-history":[{"count":0,"href":"https:\/\/operawire.com\/wp-json\/wp\/v2\/posts\/72632\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/operawire.com\/wp-json\/wp\/v2\/media\/72635"}],"wp:attachment":[{"href":"https:\/\/operawire.com\/wp-json\/wp\/v2\/media?parent=72632"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/operawire.com\/wp-json\/wp\/v2\/categories?post=72632"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/operawire.com\/wp-json\/wp\/v2\/tags?post=72632"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}