{"version":"1.0","provider_name":"OperaWire","provider_url":"https:\/\/operawire.com","author_name":"David Salazar","author_url":"https:\/\/operawire.com\/author\/davesy22\/","title":"Metropolitan Opera Review 2016-17 - Carmen: Cl\u00e9mentine Margaine & Company Are Dramatically Fulfilling in Bizet's Masterpiece - OperaWire","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"4Wa4tBN8Wa\"><a href=\"https:\/\/operawire.com\/metropolitan-opera-review-2016-17-carmen-clementine-margaine-company-are-dramatically-fulfilling-in-bizets-masterpiece\/\">Metropolitan Opera Review 2016-17 &#8211; Carmen: Cl\u00e9mentine Margaine &#038; Company Are Dramatically Fulfilling in Bizet&#8217;s Masterpiece<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/operawire.com\/metropolitan-opera-review-2016-17-carmen-clementine-margaine-company-are-dramatically-fulfilling-in-bizets-masterpiece\/embed\/#?secret=4Wa4tBN8Wa\" width=\"600\" height=\"338\" title=\"&#8220;Metropolitan Opera Review 2016-17 &#8211; Carmen: Cl\u00e9mentine Margaine &#038; Company Are Dramatically Fulfilling in Bizet&#8217;s Masterpiece&#8221; &#8212; OperaWire\" data-secret=\"4Wa4tBN8Wa\" 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\/02\/combine_images-1.jpg","thumbnail_width":1000,"thumbnail_height":667,"description":"This review is for the performance on Friday, Feb. 3, 2017. When Sophie Koch cancelled all of her performances for Bizet\u2019s \u201cCarmen\u201d at the Metropolitan Opera, attention immediately turned toward Cl\u00e9mentine Margaine, who was set to make her Met debut on Feb. 3. Instead the French mezzo saw her first performance at the history house pushed up two weeks. Of&nbsp;{&hellip;}"}