{"id":120695,"date":"2026-01-05T15:37:47","date_gmt":"2026-01-05T20:37:47","guid":{"rendered":"https:\/\/www.ludwig-van.com\/toronto\/?p=120695"},"modified":"2026-01-06T07:00:02","modified_gmt":"2026-01-06T12:00:02","slug":"interview-composer-conductor-paul-frehner-librettist-director-angela-j-murphy-talk-madog-opera","status":"publish","type":"post","link":"https:\/\/www.ludwig-van.com\/toronto\/2026\/01\/05\/interview-composer-conductor-paul-frehner-librettist-director-angela-j-murphy-talk-madog-opera\/","title":{"rendered":"INTERVIEW |  Composer-Conductor Paul Frehner &amp; Librettist-Director Angela J. Murphy Talk About Madog, The Opera"},"content":{"rendered":"<figure id=\"attachment_120699\" aria-describedby=\"caption-attachment-120699\" style=\"width: 1200px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-120699\" src=\"https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2026\/01\/Copy-of-INTERVIEW-2026-01-05T153521.157.jpg\" alt=\"The live performance of Madog, with composer-conductor Paul Frehner, Ensemble Paramirabo, and baritone Jeremy Huw Williams (Photo courtesy of the artists)\" width=\"1200\" height=\"628\" srcset=\"https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2026\/01\/Copy-of-INTERVIEW-2026-01-05T153521.157.jpg 1200w, https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2026\/01\/Copy-of-INTERVIEW-2026-01-05T153521.157-300x157.jpg 300w, https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2026\/01\/Copy-of-INTERVIEW-2026-01-05T153521.157-1024x536.jpg 1024w, https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2026\/01\/Copy-of-INTERVIEW-2026-01-05T153521.157-768x402.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\" \/><figcaption id=\"caption-attachment-120699\" class=\"wp-caption-text\">The live performance of Madog, with composer-conductor Paul Frehner, Ensemble Paramirabo, and baritone Jeremy Huw Williams (Photo: Kevin Calixte)<\/figcaption><\/figure>\n<p>A legendary Welsh prince and a post-apocalyptic story about environmental renewal \u2014 it\u2019s the heart of Madog, a one-man opera by composer Paul Frehner and librettist Angela J. Murphy. Horizon: Madog will be released on the <strong>Navona Records label on January 16, 2026<\/strong>.<\/p>\n<p>Madog is a trilingual opera, written in English, Welsh, and French. Montr\u00e9al\u2019s Ensemble Paramirabo perform on the album alongside baritone Jeremy Huw Williams.<\/p>\n<p>The album includes the full opera along with \u2018Un pont sanguin\u2019, an additional piece for sextet by Frehner.<\/p>\n<h2>The Story<\/h2>\n<p>The story is set in a future world where the planet has been virtually destroyed by climate-driven flooding. Communications systems have collapsed across the globe.<\/p>\n<p>Enter Madog, descendant of the legendary Welsh prince of the same name. Madog ab Owain Gwynedd is a figure in Welsh folklore, a prince who was said to have sailed across the ocean to the Americas in 1170 \u2014 three centuries before Christopher Columbus\u2019s voyage. According to the legend, Madog (also called Madoc) was said to be the son of Owain Gwynedd, a real historic figure and the Welsh King from 1137 until 1170. Madog fled Wales because of the prevailing violence of the era.<\/p>\n<p>The Madog of the opera rejects harmful technology and promotes an earth-first philosophy.<\/p>\n<p>In the future world of the opera, people are gradually beginning to rebuild their societies. Madog looks to discover his own heritage as he works to unite the emerging present-day cultures around shared values.<\/p>\n<p>In contrast to the more pessimistic environmental message of so many works in various media, Madog examines the ways that diverse communities can work together for create a better future.<\/p>\n<figure id=\"attachment_120697\" aria-describedby=\"caption-attachment-120697\" style=\"width: 1200px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-120697\" src=\"https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2026\/01\/004A4602-1.jpg\" alt=\"Composer-conductor Paul Frehner (Photo courtesy of the artist)\" width=\"1200\" height=\"800\" srcset=\"https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2026\/01\/004A4602-1.jpg 1200w, https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2026\/01\/004A4602-1-300x200.jpg 300w, https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2026\/01\/004A4602-1-1024x683.jpg 1024w, https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2026\/01\/004A4602-1-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\" \/><figcaption id=\"caption-attachment-120697\" class=\"wp-caption-text\">Composer-conductor Paul Frehner at the premiere (Photo: Kevin Calixte))<\/figcaption><\/figure>\n<h2>The Artists<\/h2>\n<h3>Paul Frehner<\/h3>\n<p>Composer and conductor Paul Frehner is a native of Montr\u00e9al. He\u2019s become known for a diverse catalogue of works that incorporate elements of rock, folk, jazz, and progressive music, along with literature, science, and the natural world. He has composed orchestral and chamber music, opera, choral works, and electroacoustic music.<\/p>\n<p>Paul\u2019s music has been widely commissioned and performed across the globe, and his accolades include First Prize in the Prague Philharmonia\u2019s Third Millennium Composition Competition. He is an Associate Professor at Western University, where he teaches composition and directs the CEARP electroacoustic music studio.<\/p>\n<h3>Angela J. Murphy<\/h3>\n<p>Angela J. Murphy is based in Montr\u00e9al. She graduated from both the Theatre program at Dawson College, and the English and Creative Writing program at Concordia University. People and human nature form the heart of her creative work.<\/p>\n<p>She first collaborated with composer Paul Frehner as a librettist in 2003 on the opera Sirius on Earth. The work was produced in London, England, and funded by the Genesis Foundation. Sirius is also set in a future world, but with a darker and more dystopian flavour. Humanity has been cured of its sadness, but the result is a detriment to the very essence of what it means to be human.<\/p>\n<h3>Jeremy Huw Williams<\/h3>\n<p>Welsh baritone Jeremy Huw Williams studied at St John\u2019s College, Cambridge, and at the National Opera Studio in London. He has performed in more than 70 operatic roles since making his debut with the Welsh National Opera in a production of Cosi\u0300 fan tutte. Jeremy has performed on prominent stages across North and South America, as well as in Australia, China, and India, and in Europe, including at the Wigmore Hall and Purcell Room, and at many major music festivals.<\/p>\n<p>Along with live performance, he is a recording artist with a catalogue of more than 50 commercial recordings, including about 20 discs of solo songs, and he frequently records for BBC Radio 3. He is dedicated to new music, and has commissioned many works.<\/p>\n<p>Among his many accolades, he was awarded an Honorary Fellowship by Glyndw\u0302r University in 2009 for services to music in Wales, the Honorary Degree of Doctor of Music from the University of Aberdeen in 2011, the Medal of the Order of the British Empire in the 2021 Queen\u2019s Birthday Honours, and the 2022 John Edwards Memorial Award, a non-competitive award given in Wales for services to the nation\u2019s music.<\/p>\n<h3>Paramirabo<\/h3>\n<p>Ensemble Paramirabo take their name from a work by composer Claude Vivier. The group met in 2008 at the Conservatoire de musique de Montr\u00e9al, and flutist Jeffrey Stonehouse has been their artistic director since then.<\/p>\n<p>Known for their dedication to contemporary music, and the work of Canadian composers, their innovative approach looks to push the boundaries of the traditional concert experience. They have toured internationally, and been invited to perform at music festivals in Belgium, England and Mexico.<\/p>\n<p>Accolades include the OPUS 23rd edition \u2014 Performer of the year Prize, and a 2020 JUNO nomination. The ensemble has over 80 premieres and commissions to their credit.<\/p>\n<div class=\"jetpack-video-wrapper\"><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/Ux5elYX4-zo?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation\"><\/iframe><\/span><\/div>\n<h2>Paul Frehner &amp; Angela J. Murphy: The Interview<\/h2>\n<p>How did this work come about?<\/p>\n<p>\u201cThe singer, Jeremy Huw Williams, he contacted me and suggested maybe we can work on an operatic project with a solo singer,\u201d Frehner says. Williams suggested a trilingual piece, and also incorporating a connection between Wales and Qu\u00e9bec.<\/p>\n<p>\u201cAngela and I had worked together previously,\u201d Paul continues, \u201cJeremy sang on that project years ago.\u201d<\/p>\n<p>When it came to considering an ensemble who could handle the music, Frehner went with a group he\u2019d been thinking about for some time. \u201cI had considered approaching Paramirabo for a while, and they were very enthusiastic.\u201d<\/p>\n<p>The outlines of the story were also largely the result of Jeremy\u2019s input. \u201cAgain, that was Jeremy.\u201d<\/p>\n<p>As he explains, the parameters of Madog\u2019s historical story may or may not be entirely real. Among the many rumours and legends attributed to the original Madog is that he explored North America when he arrived there, creating a connection between Wales and Qu\u00e9bec.<\/p>\n<p>Frehner was intrigued by the story. \u201cMaybe somehow we can reimagine that story. The story is not about him, but a descendant.\u201d<\/p>\n<p>\u201cOr, he sees himself as a descendant,\u201d Angela adds. The world of the opera is not so far off from where we are now in today\u2019s world, with the direction that modern society is taking.<\/p>\n<p>In the opera, Madog the descendant is motivated by the past \u2014 the present of today. \u201cBecause of the decisions made in the past,\u201d she explains, \u201cit took on a role in his mind, in order to perpetuate a positive future, he has to act.\u201d<\/p>\n<p>It\u2019s not that he rejects all technology, as she notes. The opera\u2019s Madog uses a radio, for example.<\/p>\n<p>\u201cThere&#8217;s a hubris thing,\u201d she comments. \u201cNo matter what you do, there&#8217;s no perfect way of living, no perfect way of being.\u201d<\/p>\n<figure id=\"attachment_120700\" aria-describedby=\"caption-attachment-120700\" style=\"width: 1200px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-120700\" src=\"https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2026\/01\/0W1A4359-1.jpg\" alt=\"The live performance of Madog, with composer-conductor Paul Frehner, Ensemble Paramirabo, and baritone Jeremy Huw Williams (Photo courtesy of the artists)\" width=\"1200\" height=\"800\" srcset=\"https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2026\/01\/0W1A4359-1.jpg 1200w, https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2026\/01\/0W1A4359-1-300x200.jpg 300w, https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2026\/01\/0W1A4359-1-1024x683.jpg 1024w, https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2026\/01\/0W1A4359-1-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\" \/><figcaption id=\"caption-attachment-120700\" class=\"wp-caption-text\">The live performance of Madog, with composer-conductor Paul Frehner, Ensemble Paramirabo, and baritone Jeremy Huw Williams (Photo: Kevin Calixte))<\/figcaption><\/figure>\n<h3>A Trilingual Opera<\/h3>\n<p>\u201cJeremy&#8217;s idea was that it would be in three languages, the opera, but Angela came up with how to set the text,\u201d Paul explains.<\/p>\n<p>Angela\u2019s idea was to come up with a scenario that would allow for the inclusion of all three languages. In the post-apocalyptic world of the opera, the people Madog encounters originally come from different places. \u201cThey speak a fluent dialect where the three languages are interwoven.\u201d It results in a constant back and forth between English, French, and Welsh.<\/p>\n<p>As Murphy points out, it\u2019s not so dissimilar to the Chiac she was exposed to during her childhood via her grandmother. Chiac is a unique dialect of Acadian French that is largely spoken in parts of New Brunswick. It blends French with English, with a distinctive use of grammar and rhythm, and a unique vocabulary.<\/p>\n<p>\u201cQu\u00e9bec French, as you know is very much its own dialect,\u201d Angela notes. \u201cIt&#8217;s really grown to be its own thing. The Welsh have a very historic and (unique) language,\u201d she adds, drawing a comparison between current efforts to teach Welsh in schools and Qu\u00e9bec\u2019s Bill 101.<\/p>\n<p>Language is key to culture. \u201cThere&#8217;s no getting away from it here,\u201d she says.<\/p>\n<p>\u201cJeremy, before the performances, he would always speak of the importance of the Welsh language,\u201d Paul recalls. The Welsh government\u2019s efforts to teach the language in schools is an effort to preserve a heritage that is in danger of vanishing. \u201cEnglish is the dominant language in Wales still today. It&#8217;s very much an ongoing issue.\u201d<\/p>\n<p>While the language of the opera constantly fluctuates, the style of the music doesn\u2019t necessarily follow. \u201cIn a way, no,\u201d Frehner says. He says he considered setting the Welsh text with music in a kind of ambient mode, but then thought better of the idea. \u201cI thought the music would just end up sounding kind of bonkers,\u201d he says.<\/p>\n<p>\u201cI tried to capture in the passages [&#8230;] an overall feeling of the particular moment, and then try to let the words be delivered in a natural way, for whatever the language was.\u201d<\/p>\n<p>He\u2019d never worked with a Welsh libretto before, and consulted with Williams about the rhythms of the lines. \u201cJeremy was tremendously helpful,\u201d he says. His input included, for example, details such as avoiding high notes on certain syllables.<\/p>\n<p>\u201cThe libretto is vastly poetic,\u201d Murphy says. \u201cHe loves hearing himself use words. It works in that sense.\u201d<\/p>\n<p>She emphasizes that the goal was to allow for the emotions to come through clearly, no matter what the language.<\/p>\n<p>At times, the specifics of each language came into play. \u201cI love the way that Qu\u00e9bec language can sound when you&#8217;re angry,\u201d Angela says. \u201cWhen he&#8217;s talking about the ocean, it&#8217;s more Welsh,\u201d she adds, noting the language\u2019s dreamier, meditative feel.<\/p>\n<p>\u201cThe English feels more like the mediator between the two,\u201d she says.<\/p>\n<h3>Music<\/h3>\n<p>Like much of Frehner\u2019s work, the music for Madog incorporates multiple influences. \u201cSomeone might listen to and hear maybe allusions to this style or that style,\u201d he says. \u201cIt might seem pluralistic in the way that the libretto is pluralistic.\u201d<\/p>\n<p>The opera opens with a radio broadcast, then segues into the music. \u201cIt&#8217;s rather driving,\u201d he says. When Madog talks about the land, the mood changes, and becomes more reflective. \u201cIt&#8217;s quite different.\u201d As he explains, the differences aren\u2019t necessarily stylistic, but rather linked to interpretation.<\/p>\n<p>\u201cThe opening melody that the ensemble plays when it first comes in, it&#8217;s heard [&#8230;] throughout in various ways,\u201d he explains. Each iteration is chromatically different. \u201cIt&#8217;s hopefully a bit of a unifying element.\u201d<\/p>\n<p>\u201cIt\u2019s like a comforting mantra for himself,\u201d Angela says.<\/p>\n<p>\u201cIt&#8217;s throughout that final section that he&#8217;s singing [&#8230;] \u2018We are the gods\u2019 \u2014 it&#8217;s not really a leitmotif, but this omnipresent melody throughout,\u201d Paul says.<\/p>\n<figure id=\"attachment_120698\" aria-describedby=\"caption-attachment-120698\" style=\"width: 1200px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-120698\" src=\"https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2026\/01\/Copy_of_NEWS_-_2025-12-23T125657.849.jpg\" alt=\"Baritone Jeremy Huw Williams (Photo courtesy of the artist)\" width=\"1200\" height=\"628\" srcset=\"https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2026\/01\/Copy_of_NEWS_-_2025-12-23T125657.849.jpg 1200w, https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2026\/01\/Copy_of_NEWS_-_2025-12-23T125657.849-300x157.jpg 300w, https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2026\/01\/Copy_of_NEWS_-_2025-12-23T125657.849-1024x536.jpg 1024w, https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2026\/01\/Copy_of_NEWS_-_2025-12-23T125657.849-768x402.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\" \/><figcaption id=\"caption-attachment-120698\" class=\"wp-caption-text\">Baritone Jeremy Huw Williams (Photo: Kevin Calixte)<\/figcaption><\/figure>\n<h3>Collaborators<\/h3>\n<p>Jeremy Huw Williams is, of course, a vital element to the opera.<\/p>\n<p>\u201cHe&#8217;s a tremendously engaging performer, and a very dramatic baritone with a lyrical voice. He&#8217;s really able to transfer from one language to the next, to the next,\u201d Frehner notes. \u201cHe&#8217;s a wonderful singer to work with on a project like this.\u201d<\/p>\n<p>\u201cHe\u2019s 100% invested in understanding this character,\u201d Angela adds.<\/p>\n<p>As she comments, the initial presentation to Williams was a barebones sketch of the opera. \u201cHe really created his [character],\u201d she says. \u201cIt was created over the period of a week.\u201d Jeremy had memorized the work, and come back with a working character. \u201cIt&#8217;s just fantastic to work with someone so dedicated.\u201d<\/p>\n<p>\u201cWe started rehearsals on a Monday, and the first performance was on Friday,\u201d Frehner says. He explains that Williams had not only memorized the music, but the blocking and other details.<\/p>\n<p>The initial live performances took place in 2024, including one each in Montr\u00e9al and London, Ontario, and another three in Wales.<\/p>\n<p>\u201cAll the stage directions that Angela was given, it was important to know why,\u201d Paul comments. \u201cHe&#8217;s really wanting to understand the history of the character.\u201d<\/p>\n<p>\u201cThe text bounces from one thing to another,\u201d Angela comment, \u201cso [it was] not necessarily obvious what happens from one moment to the next.\u201d Williams created the connections from moment to moment.<\/p>\n<p>\u201cHe understood that the character is torn between wanting to stay with his people, and the call to find his homeland and to pass on their message,\u201d Paul explains.<\/p>\n<p>\u201cIt&#8217;s almost an inner drama,\u201d Angela notes. At times, it\u2019s not entirely apparent whether the character is talking to himself, or addressing someone else.<\/p>\n<p>Ensemble Paramirabo also became an integral part of the opera.<\/p>\n<p>\u201cJust how great Paramirabo was to work with,\u201d Paul recalls. \u201cThey had a very much shoot first, ask questions later approach.\u201d<\/p>\n<p>He notes that, while they\u2019re a new music ensemble, chamber opera is not their usual territory.<\/p>\n<p>\u201cThey totally embraced the project,\u201d he says.<\/p>\n<p>\u201cIt&#8217;s a dark piece, certainly a lot of quirkiness there,\u201d notes Angela. While the overall tone is serious, the opera does include a few laughs. \u201cThey enjoyed watching him,\u201d she adds. \u201cIt gives you the sense they&#8217;re creating with us.\u201d<\/p>\n<p>\u201cThey were very much collaborators,\u201d Frehner says.<\/p>\n<h3>The Recording<\/h3>\n<p>\u201cWe recorded this piece in Wales right at the end of the tour,\u201d Paul notes. At that point, the work was well rehearsed and perfected by all of the artists.<\/p>\n<p>\u2018Un pont sanguin\u2019, the companion on the piece, was written for Paramirabo, and recorded in Montr\u00e9al.<\/p>\n<ul>\n<li>Find Horizon: Madog on Navona Records, available for pre-save now, and set for release on January 16, 2026 [<strong><a href=\"https:\/\/www.navonarecords.com\/catalog\/nv6819\/\" target=\"_blank\" rel=\"noopener\">HERE<\/a><\/strong>].<\/li>\n<\/ul>\n<p><strong><em>Are you looking to promote an <a href=\"https:\/\/www.ludwig-van.com\/toronto\/advertising\/\" target=\"_blank\" rel=\"noopener\"><span style=\"color: #0e101a\"><u>event<\/u><\/span><\/a>? Have a\u00a0<a href=\"https:\/\/www.ludwig-van.com\/toronto\/masthead\/\" target=\"_blank\" rel=\"noopener\"><u>news tip<\/u><\/a>? Need to know the best\u00a0<a href=\"https:\/\/www.ludwig-van.com\/toronto\/events\/\" target=\"_blank\" rel=\"noopener\"><u>events<\/u><\/a>\u00a0happening this weekend? Send us a\u00a0<\/em><\/strong><a href=\"mailto:anya@ludwig-van.com?subject=Let's%20chat\" target=\"_blank\" rel=\"noopener\"><strong><em><u>note<\/u>.<\/em><\/strong><br \/>\n<\/a><\/p>\n<h3 class=\"western\"><em><b>#LUDWIGVAN<\/b><\/em><\/h3>\n<p class=\"western\"><em>Get the daily arts news straight to your inbox.<\/em><\/p>\n<h3 class=\"western\"><em>Sign up for the Ludwig Van Toronto e-Blast! \u2014 local classical music and opera news straight to your inbox <\/em><a href=\"https:\/\/583e6ce0-dfd0-48be-8a33-61256b3c58e3.mlbtlr.com\/p2\/Fbd8jWoWQQ6CdBcLIvut3Q\/02E3cYaETqaj4Xm087cpSg?contactid=S3HHYfHY5rZv5f94S15MnA\" target=\"_blank\" rel=\"noopener\" data-saferedirecturl=\"https:\/\/www.google.com\/url?q=https:\/\/583e6ce0-dfd0-48be-8a33-61256b3c58e3.mlbtlr.com\/p2\/Fbd8jWoWQQ6CdBcLIvut3Q\/02E3cYaETqaj4Xm087cpSg?contactid%3DS3HHYfHY5rZv5f94S15MnA&amp;source=gmail&amp;ust=1695737525351000&amp;usg=AOvVaw0QTqKRwRJQFGK3KoJYigxX\">HERE<\/a>.<\/h3>\n","protected":false},"excerpt":{"rendered":"<p>A legendary Welsh prince and a post-apocalyptic story about environmental renewal \u2014 it\u2019s the heart of Madog, a one-man opera by composer Paul Frehner and librettist Angela J. Murphy.<\/p>\n","protected":false},"author":64,"featured_media":120699,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"jetpack_post_was_ever_published":false},"categories":[42533,18,29,41357,9567,81,43,3922,51,63],"tags":[42552,1166,42553,2576],"yst_prominent_words":[],"acf":[],"jetpack_featured_media_url":"https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2026\/01\/Copy-of-INTERVIEW-2026-01-05T153521.157.jpg","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p9bakr-voH","amp_enabled":true,"_links":{"self":[{"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/posts\/120695"}],"collection":[{"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/users\/64"}],"replies":[{"embeddable":true,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/comments?post=120695"}],"version-history":[{"count":11,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/posts\/120695\/revisions"}],"predecessor-version":[{"id":120712,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/posts\/120695\/revisions\/120712"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/media\/120699"}],"wp:attachment":[{"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/media?parent=120695"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/categories?post=120695"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/tags?post=120695"},{"taxonomy":"yst_prominent_words","embeddable":true,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/yst_prominent_words?post=120695"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}