{"version":"1.0","provider_name":"OperaWire","provider_url":"https:\/\/operawire.com","author_name":"Anibal Salazar","author_url":"https:\/\/operawire.com\/author\/salazaralonso\/","title":"Metropolitan Opera 2017-18 Review - The Merry Widow: Susan Graham &amp; Andriana Chuchman Shine In L\u00e9har Operetta - OperaWire","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"ZhazACHl8i\"><a href=\"https:\/\/operawire.com\/metropolitan-opera-2017-18-review-the-merry-widow-susan-graham-andriana-chuchman-shine-in-lehar-operetta\/\">Metropolitan Opera 2017-18 Review &#8211; The Merry Widow: Susan Graham &amp; Andriana Chuchman Shine In L\u00e9har Operetta<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/operawire.com\/metropolitan-opera-2017-18-review-the-merry-widow-susan-graham-andriana-chuchman-shine-in-lehar-operetta\/embed\/#?secret=ZhazACHl8i\" width=\"600\" height=\"338\" title=\"&#8220;Metropolitan Opera 2017-18 Review &#8211; The Merry Widow: Susan Graham &amp; Andriana Chuchman Shine In L\u00e9har Operetta&#8221; &#8212; OperaWire\" data-secret=\"ZhazACHl8i\" 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\/12\/pjimage-2-4.jpg","thumbnail_width":1920,"thumbnail_height":1080,"description":"This review is for the performance on Dec. 14, 2017.\u00a0 It&#8217;s an interesting time at the Metropolitan Opera right now. Undeniably taking into account the jolly spirit of the holidays the company is only showcasing comedies between now and Dec. 31, when it presents a new production of one of the most violent of all operas &#8211; &#8220;Tosca.&#8221; But for&nbsp;{&hellip;}"}