{"version":"1.0","provider_name":"OperaWire","provider_url":"https:\/\/operawire.com","author_name":"David Salazar","author_url":"https:\/\/operawire.com\/author\/davesy22\/","title":"New York City Opera 2016-17 Review - Candide: The Best of All Possible Sopranos Leads a Bountiful Comedic Garden - OperaWire","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"gCEfWqpD4U\"><a href=\"https:\/\/operawire.com\/new-york-city-opera-2016-17-review-candide-the-best-of-all-possible-sopranos-leads-a-bountiful-comedic-garden\/\">New York City Opera 2016-17 Review &#8211; Candide: The Best of All Possible Sopranos Leads a Bountiful Comedic Garden<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/operawire.com\/new-york-city-opera-2016-17-review-candide-the-best-of-all-possible-sopranos-leads-a-bountiful-comedic-garden\/embed\/#?secret=gCEfWqpD4U\" width=\"600\" height=\"338\" title=\"&#8220;New York City Opera 2016-17 Review &#8211; Candide: The Best of All Possible Sopranos Leads a Bountiful Comedic Garden&#8221; &#8212; OperaWire\" data-secret=\"gCEfWqpD4U\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script type=\"text\/javascript\">\n\/* <![CDATA[ *\/\n\/*! This file is auto-generated *\/\n!function(d,l){\"use strict\";l.querySelector&&d.addEventListener&&\"undefined\"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!\/[^a-zA-Z0-9]\/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret=\"'+t.secret+'\"]'),o=l.querySelectorAll('blockquote[data-secret=\"'+t.secret+'\"]'),c=new RegExp(\"^https?:$\",\"i\"),i=0;i<o.length;i++)o[i].style.display=\"none\";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute(\"style\"),\"height\"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):\"link\"===t.message&&(r=new URL(s.getAttribute(\"src\")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener(\"message\",d.wp.receiveEmbedMessage,!1),l.addEventListener(\"DOMContentLoaded\",function(){for(var e,t,s=l.querySelectorAll(\"iframe.wp-embedded-content\"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute(\"data-secret\"))||(t=Math.random().toString(36).substring(2,12),e.src+=\"#?secret=\"+t,e.setAttribute(\"data-secret\",t)),e.contentWindow.postMessage({message:\"ready\",secret:t},\"*\")},!1)))}(window,document);\n\/* ]]> *\/\n<\/script>\n","thumbnail_url":"https:\/\/operawire.com\/wp-content\/uploads\/2017\/01\/combine_images-5.jpg","thumbnail_width":1500,"thumbnail_height":1001,"description":"The best of all possible outcomes for any opera is a strong cast and a great production for a great work. In this context, the New York City Opera can certainly check off the box next to \u201csuccess\u201d with regards to its new \u201cCandide.\u201d Directed by Harold Prince, the revival of Leonard Bernstein\u2019s comic operetta, which is based on Voltaire\u2019s&nbsp;{&hellip;}"}