{"version":"1.0","provider_name":"OperaWire","provider_url":"https:\/\/operawire.com","author_name":"Operawire Staff","author_url":"https:\/\/operawire.com\/author\/operawireadmin2\/","title":"Opera Theatre Saint Louis 2024 Review: The Barber of Seville - OperaWire","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"cQwjsWxxlG\"><a href=\"https:\/\/operawire.com\/opera-theatre-saint-louis-2024-review-the-barber-of-seville\/\">Opera Theatre Saint Louis 2024 Review: The Barber of Seville<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/operawire.com\/opera-theatre-saint-louis-2024-review-the-barber-of-seville\/embed\/#?secret=cQwjsWxxlG\" width=\"600\" height=\"338\" title=\"&#8220;Opera Theatre Saint Louis 2024 Review: The Barber of Seville&#8221; &#8212; OperaWire\" data-secret=\"cQwjsWxxlG\" 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\/2024\/07\/MixCollage-02-Jul-2024-10-03-AM-8645.jpg","thumbnail_width":1480,"thumbnail_height":920,"description":"(Photo credit: Eric Woolsey) \u201cThe Barber of Seville\u201d can be tough to sit through. Opera Theatre Saint Louis (OTSL) swam upstream furiously against the libretto\u2019s banalities to produce an entertaining show, with standout performances from Justin Austin in the title role, and Hongni Wu as Rosina. In youth, I received as a gift the London\/Decca recording featuring Leo Nucci as&nbsp;{&hellip;}"}