{"version":"1.0","provider_name":"OperaWire","provider_url":"https:\/\/operawire.com","author_name":"David Salazar","author_url":"https:\/\/operawire.com\/author\/davesy22\/","title":"Opera Profile: The Last Mozart-Da Ponte Opera 'Cos\u00ec Fan Tutte' - OperaWire","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"Rh4jwinVhb\"><a href=\"https:\/\/operawire.com\/opera-profile-the-last-mozart-da-ponte-opera-cosi-fan-tutte\/\">Opera Profile: The Last Mozart-Da Ponte Opera &#8216;Cos\u00ec Fan Tutte&#8217;<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/operawire.com\/opera-profile-the-last-mozart-da-ponte-opera-cosi-fan-tutte\/embed\/#?secret=Rh4jwinVhb\" width=\"600\" height=\"338\" title=\"&#8220;Opera Profile: The Last Mozart-Da Ponte Opera &#8216;Cos\u00ec Fan Tutte&#8217;&#8221; &#8212; OperaWire\" data-secret=\"Rh4jwinVhb\" 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\/cosi_fan_tutte_a-1024x576.jpg","thumbnail_width":1024,"thumbnail_height":576,"description":"\u201cCos\u00ec fan tutte\u201d is the third opera in the Mozart-Da Ponte trilogy, following \u201cLe Nozze di Figaro\u201d and \u201cDon Giovanni.\u201d The opera had its premiere on Jan. 26, 1790, at the Burgtheater in Vienna, Austria. The work\u2019s title is often translated into English as \u201cWoman are like that,\u201d undeniably a reference to the opera\u2019s central theme that questions women\u2019s fidelity.&nbsp;{&hellip;}"}