{"id":52797,"date":"2018-04-18T11:03:02","date_gmt":"2018-04-18T15:03:02","guid":{"rendered":"https:\/\/www.ludwig-van.com\/toronto\/?p=52797"},"modified":"2018-04-18T11:03:02","modified_gmt":"2018-04-18T15:03:02","slug":"primer-a-guide-for-getting-ready-for-donizettis-anna-bolena","status":"publish","type":"post","link":"https:\/\/www.ludwig-van.com\/toronto\/2018\/04\/18\/primer-a-guide-for-getting-ready-for-donizettis-anna-bolena\/","title":{"rendered":"PRIMER | A Guide To Getting Ready For Donizetti\u2019s Anna Bolena"},"content":{"rendered":"<p style=\"text-align: center;\"><img decoding=\"async\" loading=\"lazy\" class=\"aligncenter size-full wp-image-52811\" src=\"https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2018\/04\/Donizetti\u2019s-Anna-Bolena-guide-ludwig-van.jpg\" alt=\"\" width=\"1024\" height=\"536\" srcset=\"https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2018\/04\/Donizetti\u2019s-Anna-Bolena-guide-ludwig-van.jpg 1024w, https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2018\/04\/Donizetti\u2019s-Anna-Bolena-guide-ludwig-van-300x157.jpg 300w, https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2018\/04\/Donizetti\u2019s-Anna-Bolena-guide-ludwig-van-768x402.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/p>\n<p>The first time the Canadian Opera Company mounted Gaetano Donizetti\u2019s opera <em>Anna Bolena<\/em> in 1984, it starred one of the greatest <em>bel canto <\/em>sopranos of the 20<sup>th<\/sup> century, Dame Joan Sutherland! Now it will be revived with Sondra Radvanovsky, who some claim is the new reigning queen of <em>bel canto.<\/em><\/p>\n<p>Rarely performed, partly because the role of Anne Boleyn demands superior endurance, virtuosity, and dramatic intuition, <em>Anna Bolena <\/em>requires a true diva. At the risk of outing myself as an opera queen, it is for this reason that I love this opera. Often compared to <em>La Divina <\/em>Maria Callas, another of the greatest divas in the 20th-century, Giuditta Pasta created the role of Anna in 1830. One should not underestimate the impact that Pasta had on this role \u2013\u2013 in fact, Donizetti composed the role for Pasta under her supervision! From its inception then, the diva has been integral to <em>Bolena<\/em>\u2019s performance.<\/p>\n<p>This is why I have focused this listening guide on some of the divas that have sung Anna. There is no definitive way to read this guide: You can either skip to your favourite singer or read from start to finish to get a taste of how this role has developed and changed. Let me know which diva is your favourite in the comments below!<\/p>\n<h3><em>Anna Bolena <\/em>Rises from the Dead<\/h3>\n<p>Since its 20th-century revival in 1947, only the greatest sopranos have performed this role. In 1947, this was Sara Scuderi, who was about to end her long career. Although no recordings were made of her singing Anna, one can hear the beauty and refined skill of her singing preserved in other opera excerpts. When listening to Scuderi sing Tosca\u2019s famous aria \u201cVissi d\u2019Arte\u201d at the age of 87, one can imagine how this voice might have sounded in its prime.<\/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\/vx4S1cjWEhU?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<h3><em>La Divina<\/em><\/h3>\n<ul>\n<li>Year: 1957<\/li>\n<li>Label: EMI<\/li>\n<li>Anna Bolena: Maria Callas<\/li>\n<li>Enrico: Nicola Rossi-Lemeni<\/li>\n<li>Giovanna: Giulietta Simionato<\/li>\n<li>Percy: Gianni Raimondi<\/li>\n<li>Conductor: Gianandrea Gavazzeni<\/li>\n<li>Orchestra: Orchestra and Chorus of La Scala, Milan<\/li>\n<\/ul>\n<p>In 1957, <em>Bolena <\/em>was revived at La Scala with Maria Callas at the height of her powers. This performance eclipsed any memory of Scuderi\u2019s revival. Despite the poor quality of this early live recording, it preserves what many consider the greatest performance of the role. Callas is often compared to Pasta because of her compelling acting, distinct breaks between vocal registers, and impeccable virtuosity. Although we do not have footage of Callas performing the role, her vocal artistry was so visceral that one doesn\u2019t need to see her to imagine how she might have acted on stage.<\/p>\n<p>In the following excerpt of the Act I finale, Callas\u2019 vocal inflections and musicality clearly indicate her rage and astonishment at Enrico\u2019s accusation of her infidelity. The part sits comfortably in Callas\u2019 range showing off her almost screechy top to her dark mezzo-ish bottom. Finally, we can also her impeccable coloratura sung at a breakneck speed in this final ensemble. I think the applause and cries of \u201cbrava\u201d at the end of the recording speak to my point that Callas was simply breathtaking in this role:<\/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\/1SSPdwPQdVU?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<ul>\n<li>Year: 1958<\/li>\n<li>Label: Andromeda<\/li>\n<li>Anna Bolena: Leyla Gencer<\/li>\n<li>Enrico: Plinio Clabassi<\/li>\n<li>Giovanna: Giulietta Simionato<\/li>\n<li>Percy: Aldo Bertocci<\/li>\n<li>Conductor: Gianandrea Gavazzeni<\/li>\n<li>Orchestra: Orchestra Sinfonica e Coro della RAI di Milano<\/li>\n<\/ul>\n<p>After Callas\u2019 final run of <em>Bolena <\/em>at La Scala in 1958, Leyla Gencer was the next diva to sing the role in a radio broadcast by the RAI Milano. Rumoured to have been eclipsed by Callas\u2019 shadow, Gencer was a Turkish soprano who is regretfully almost unheard of outside Europe. Despite these rumours, Gencer left us with several exciting live recordings of her as Anna. Like Callas, she was also a vocal actress commanding the stage with her emotive singing. We can hear this explicitly during her duet with Giulietta Simionato who plays Giovanna (she was also Giovanna in the same production with Callas the year before and Scuderi ten years before that).<\/p>\n<p>At this point in the opera, Giovanna admits that she has been having an affair with Anna\u2019s husband, Enrico. The two characters spar off in one of the most exciting scenes (or diva contests) in all opera. As you will hear, Gencer has a similarly grungy middle register like Callas, but with a more lyrical top, showing off some beautiful <em>piannissimi <\/em>high notes, which were her specialty. When it calls for rage, like Callas, Gencer has a powerful upper register which she uses to great effect in this duet:<\/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\/BrJtcky01SU?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<h3>The Second Callas?<\/h3>\n<ul>\n<li>Year: 1969<\/li>\n<li>Label: Decca<\/li>\n<li>Anna Bolena: Elena Souliotis<\/li>\n<li>Enrico: Nicolai Ghiaurov<\/li>\n<li>Giovanna: Marilyn Horne<\/li>\n<li>Percy: John Alexander<\/li>\n<li>Conductor: Silvio Varviso<\/li>\n<li>Orchestra: Vienna State Opera Orchestra and Chorus<\/li>\n<\/ul>\n<p>Before prematurely retiring due to vocal strain, Elena Souliotis made such a stir in roles like Anna that she was rumoured to be \u201cthe Second Callas.\u201d Lucky for us, of the few roles she recorded, Anna was one of them. Unfortunately in this studio recording, we can already hear her voice beginning to deteriorate (A 1966 live recording with tenor Pl\u00e1cido Domingo as Percy and the same cast captures her in much better form). Despite this, Souliotis manages to show glimpses of her previous glory. Her distinctive voice once again brings to mind the rare mezzo-soprano quality of the other divas who have sung this role. It is not surprising that she was compared with Callas given her piercing top, her sometimes unattractive sounding voice, and her precise coloratura.<\/p>\n<p>In the following clip, we hear the quartet when Bolena sees her long-lost love Percy for the first time in several years, during which time she lusted for power and married the King, Enrico. We can hear Anna\u2019s apprehension in the way Souliotis sings her first line and then soars over her colleagues throughout the ensemble. In this recording, she is joined by the versatile bass Nicolai Ghiaurov and the often-underrated <em>bel canto <\/em>tenor John Alexander. Although she is not in this excerpt, mezzo-soprano Marilyn Horne makes a surprisingly disappointing Giovanna on this recording. Overall, she sounds uncomfortable in the role\u2019s high tessitura, written for a soprano rather than a mezzo-soprano.<\/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\/HQYdkFeJ6K8?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<p>&nbsp;<\/p>\n<h3>A Lighter Shade of Anna<\/h3>\n<ul>\n<li>Year: 1972<\/li>\n<li>Label: Deutsche Grammophon<\/li>\n<li>Anna Bolena: Beverly Sills<\/li>\n<li>Enrico: Paul Plishka<\/li>\n<li>Giovanna: Shirley Verrett<\/li>\n<li>Percy: Stuart Burrows<\/li>\n<li>Conductor: Julius Rudel<\/li>\n<li>Orchestra: London Symphony Orchestra and the John Alldis Choir<\/li>\n<\/ul>\n<p>One of the most controversial interpreters of the three queens (Donizetti\u2019s Anna Bolena, Maria Stuarda, and Elisabetta I) was the incredibly versatile American soprano Beverly Sills. Many critics believe that Sills destroyed her voice singing these roles because they were too dramatically demanding for her. Despite the obvious deterioration heard in her later recordings, as Anna Bolena, Sills gives a dramatically compelling interpretation of the wronged queen. Unlike the dark mezzo-sopranoesque colour of the previous queens discussed, Sills has a brighter timbre and a very high extension. Her characterisation\u2019s strength is its portrayal of Anna\u2019s innocence and femininity.<\/p>\n<p>In the except below of Anna\u2019s goodbye to life, you can hear how Sills forces her voice in the bottom registry in an almost painful sounding way. Sills\u2019 vocal discomfort evokes the distress of the character. Another of my favourite aspects about this recording is Sills\u2019 ornamentation. At this time, ornamenting repeats in Donizetti\u2019s music was almost unheard of, especially in an opera as rarely heard as <em>Bolena<\/em>. What some critics deemed overindulgent at the time, Sills heavily ornaments each repeat, as you will hear below, displaying her virtuosity, and amplifying the emotions felt by the character. In addition to Sills, this recording boasts the splendid soprano-like Giovanna of mezzo-soprano Shirley Verrett as well as the positively evil sounding Paul Plishka as Enrico.<\/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\/N2Q9FBeW7GQ?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<h3><em>La Stupenda<\/em><\/h3>\n<ul>\n<li>Year: 1988<\/li>\n<li>Label: London<\/li>\n<li>Anna Bolena: Dame Joan Sutherland<\/li>\n<li>Enrico: Samuel Ramey<\/li>\n<li>Giovanna: Susanne Mentzer<\/li>\n<li>Percy: Jerry Hadley<\/li>\n<li>Conductor: Richard Bonynge<\/li>\n<li>Orchestra: Orchestra and Chorus of the Welsh National Opera<\/li>\n<\/ul>\n<p>Anna Bolena was one of the last new roles performed by Dame Joan Sutherland at the end of her long career. Unfortunately, it seems that she recorded it too late. To hear Sutherland in much fresher voice, you can watch the clip below of her debut in the role at the Canadian Opera Company in 1984. While we can hear several glimpses of Sutherland\u2019s former glory in the 1988 studio recording, these appear among her very inconsistent almost wobbling middle register and an often broken <em>legato<\/em>. It is true, as many critics note, that Sutherland\u2019s voice is much richer and darker especially in the lower register, and surprisingly her extreme high notes seem to retain their former glory, but for the listener, myself included, the question remains, \u201cat what cost?\u201d<\/p>\n<p>As is to be expected, conductor Richard Bonynge attempts at a historically informed performance by casting a lighter voice as Giovanna, who sounds younger than and does not overpower the prima donna. He also allows his performers to add some very tasteful ornamentation. The most disappointing aspect of this recording is the transposition of Anna\u2019s final aria down a tone to allow Sutherland to cap it off with a high note. As a great supporter of high notes, even I find this troublesome because it was not common practice for singers in the mid 19<sup>th<\/sup> century to \u201cgo up the octave\u201d so to speak at the end of an aria. This is a tradition that became popular in the late 19<sup>th<\/sup> century. If Sutherland can no longer hit the unwritten E flat, why must the entire aria be changed for one note? The cast is rounded out with Jerry Hadley as a compelling Percy, and Samuel Ramey as a vocally resplendent, but somewhat emotionally vapid Enrico.<\/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\/3kJCaqVnHYI?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<h3>A Personal Favourite<\/h3>\n<ul>\n<li>Year: 1993<\/li>\n<li>Anna Bolena: Nelly Miricioiu<\/li>\n<li>Erico: Harald Stamm<\/li>\n<li>Giovanna: Martine Dupuy<\/li>\n<li>Percy: Donald Kaasch<\/li>\n<li>Conductor: Viotti Marcello<\/li>\n<li>Orchestra: Orchestre symphonique et Choeurs de la Monnaie<\/li>\n<\/ul>\n<p>Another relatively unheard-of soprano outside Europe, Nelly Miricioiu was particularly famous for her interpretations of <em>bel canto<\/em> works such as<em> Bolena<\/em>. In this live recording, her vocal nuance, quality of her voice, and superb ornamentation remind us of Callas\u2019 performance. For me, Miricioiu is one of the most convincing performers in this repertoire because she uses all her vocal resources in the service of the drama. From 10 minutes to about 17 in the video below are clips of Miricioiu singing the role of Anna. One can hear how she uniquely declaims each line and heavily ornaments it to display the character\u2019s shifting pathos.<\/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\/bBJeZVI4gPw?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<h3>The International Star of <em>Bel Canto<\/em><\/h3>\n<ul>\n<li>Year: 1994<\/li>\n<li>Label: Nightingale Classics<\/li>\n<li>Anna Bolena: Edita Gruberova<\/li>\n<li>Enrico: Stefano Palatchi<\/li>\n<li>Giovanna: Delores Ziegler<\/li>\n<li>Percy: Jose Bros<\/li>\n<li>Conductor: Elio Boncompagni<\/li>\n<li>Orchestra: Hungarian Radio Chorus and Orchestra<\/li>\n<\/ul>\n<p>Known as the international star of bel canto, Edita Gruberova brings a fittingly grand finish to this list of divas who have performed <em>Anna Bolena<\/em>. Gruberova falls in the tradition of lighter sopranos like Sills performing Anna with what some might call stratospheric high notes. Like Sills, Gruberova is weakest in her lower register. However, she uses it to her advantage to show the inner turmoil of the character. She also adds a significant amount of ornamentation to sometimes intelligently alter the vocal line and bypass these difficulties in vocal register. Although she throws vocal flourish after flourish with ease, this is not to say that she does it without cause. As Gruberova explains in the first minute and a half of a documentary titled \u201cThe Art of Bel Canto,\u201d each run, or note even, is inspired by an emotion she is trying to express:<\/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\/rqEwtVWeD3U?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<p>Because of this approach, without knowing exactly what she is saying, one always seems to know the emotion that Gruberova is trying to convey. We can hear this in the video below taken by an adoring fan. This is Anna\u2019s first aria when she remembers the lost happiness of her first love, Percy. Gruberova tops the aria off with an octave (one of her well know specialties) after which the audience erupts in applause showing their approval of the diva:<\/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\/AKqGoK8WPbk?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<p>Donizetti\u2019s <em>Anna Bolena<\/em> can be seen at the Four Seasons Centre on 145 Queen St W, Toronto, ON M5H 4G1 from April 28 to May 26. For details see <a href=\"https:\/\/www.ludwig-van.com\/toronto\/event\/canadian-opera-company-donizetti-anna-bolena\/2018-04-28\/\" target=\"_blank\" rel=\"noopener\">here<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Ahead of the Canadian Opera Company&#8217;s all-new production of Donizetti\u2019s opera Anna Bolena with Sondra Radvanovsky, we give you a quick and handy guide to everything you need to know. <\/p>\n","protected":false},"author":60,"featured_media":52811,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"jetpack_post_was_ever_published":false},"categories":[14761,43,4557,15953],"tags":[18655,1372],"yst_prominent_words":[18636,7887,18644,7896,18639,18641,18637,18638,18646,18643,18642,18654,15050,18653,18647,6613,15910,18640,11707,18645],"acf":[],"jetpack_featured_media_url":"https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2018\/04\/Donizetti\u2019s-Anna-Bolena-guide-ludwig-van.jpg","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p9bakr-dJz","amp_enabled":true,"_links":{"self":[{"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/posts\/52797"}],"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\/60"}],"replies":[{"embeddable":true,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/comments?post=52797"}],"version-history":[{"count":5,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/posts\/52797\/revisions"}],"predecessor-version":[{"id":52818,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/posts\/52797\/revisions\/52818"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/media\/52811"}],"wp:attachment":[{"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/media?parent=52797"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/categories?post=52797"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/tags?post=52797"},{"taxonomy":"yst_prominent_words","embeddable":true,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/yst_prominent_words?post=52797"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}