{"id":389921,"date":"2019-09-04T16:58:52","date_gmt":"2019-09-04T20:58:52","guid":{"rendered":"https:\/\/myscena.org\/?p=389921"},"modified":"2019-09-11T13:49:17","modified_gmt":"2019-09-11T17:49:17","slug":"critiques-cd-reviews","status":"publish","type":"post","link":"https:\/\/aap5.myscena.org\/fr\/la-scena-musicale-team\/critiques-cd-reviews\/","title":{"rendered":"Critiques CD Reviews"},"content":{"rendered":"

Les Sons et les Parfums<\/em><\/h4>\n

Music by Tailleferre, Faur\u00e9, Poulenc, Chabrier, Debussy and Ravel. Janina Fialkowska, piano<\/p>\n

ATMA Classique ACD2 2766<\/p>\n

Total Time: 56:11<\/p>\n

***** (5 stars)<\/p>\n

\"\"<\/a>Montreal-born and internationally celebrated pianist Janina Fialkowska has recorded 13 CDs for ATMA Classique but none better than this one. This carefully selected survey of French piano music ranges from Faur\u00e9\u2019s Nocturne Op. 36 No. 4 in E flat major to Ravel\u2019s Jeux d\u2019eau<\/em> and Sonatine. Fialkowska plays everything with a sure sense of style.<\/p>\n

The first four pieces, by Tailleferre, Faur\u00e9, Poulenc and Chabrier, are beautifully crafted salon miniatures. Each demonstrates how its composer can find something original and interesting to say in a piece only a few minutes in length. But then we come to Debussy\u2019s Poissons d\u2019or<\/em> and a whole new world of musical expression. One is struck anew how Debussy can conjure such a range of colours from the piano!<\/p>\n

The CD takes its title from Debussy\u2019s Les sons et les parfums tournent dans l\u2019air du soir<\/em> (Pr\u00e9ludes, Book I, No. 4) \u2013 actually a quotation from Beaudelaire \u2013 and Fialkowska lets us hear every subtle melodic and harmonic change.<\/p>\n

Fialkowska\u2019s playing is masterly, from the familiar quiet beauty of Debussy\u2019s Clair de lune<\/em> to the spectacular final Anim\u00e9<\/em> from Ravel\u2019s Sonatine. Paul Robinson
\n<\/strong><\/p>\n

\n

Italian Masterworks<\/em><\/h4>\n

Music by Verdi, Puccini, Mascagni and Boito. Riccardo Zanellato, basse. Orchestre symphonique et ch\u0153ur de Chicago\/Riccardo Muti<\/p>\n

CSO Resound CSOR 9011801<\/p>\n

Dur\u00e9e\u00a0: 68 min 37\u00a0s<\/p>\n

*** (3 \u00e9toiles)<\/p>\n

\"\"<\/a>L\u2019Orchestre symphonique de Chicago a r\u00e9cemment mis fin \u00e0 une gr\u00e8ve am\u00e8re \u2013 en existe-t-il d\u2019autres sortes ? \u2013 qui a forc\u00e9 l\u2019annulation de dizaines de concerts en mi-saison. La gr\u00e8ve portait sur la r\u00e9mun\u00e9ration et les pensions et il n\u2019est pas clair que les employ\u00e9s soient maintenant en meilleure posture qu\u2019avant la gr\u00e8ve. Quoi qu\u2019il en soit, Muti et le CSO jouent de nouveau ensemble. Ce partenariat a donn\u00e9 d\u2019excellents r\u00e9sultats. Cependant, je ne suis pas certain que ce nouveau disque en fasse partie.<\/p>\n

Muti a une exp\u00e9rience digne de mention comme chef d\u2019orchestre d\u2019op\u00e9ra \u2013 il a dirig\u00e9 La Scala pendant de nombreuses ann\u00e9es \u2013 et toute la musique de ce disque est tir\u00e9e du r\u00e9pertoire op\u00e9ratique. Mais \u00ab\u00a0\u0152uvres magistrales\u00a0\u00bb\u00a0? L\u2019ouverture du Nabucco<\/em> de Verdi est une musique de deuxi\u00e8me ordre et le ch\u0153ur Gli arredi festivi<\/em> du m\u00eame op\u00e9ra ne vaut gu\u00e8re mieux.<\/p>\n

L\u2019\u0153uvre majeure est le prologue du Mefistofele<\/em> de Boito avec un favori de Muti, la basse Riccardo Zanellato, dans le r\u00f4le-titre. La musique est captivante et se termine avec puissance, interpr\u00e9t\u00e9e de fa\u00e7on spectaculaire par Zanellato et les musiciens de Chicago. Ailleurs, le jeu et la direction d\u2019orchestre semblent \u00e0 peine meilleurs que la pratique habituelle.\u00a0Paul Robinson<\/strong><\/p>\n

\n

Stenhammar\u00a0: Symphony No. 2 in G minor Op. 34. Serenade in F major Op. 31<\/em><\/h4>\n

Orchestre symphonique de G\u00f6teborg\/Herbert Blomstedt<\/p>\n

BIS-2424<\/p>\n

Dur\u00e9e\u00a0: 83 min 31 s<\/p>\n

**** (4 \u00e9toiles)<\/p>\n

\"\"<\/a>Herbert Blomstedt est n\u00e9 aux \u00c9tats-Unis de parents su\u00e9dois et a dirig\u00e9 certains des plus grands orchestres du monde, notamment la Staatskapelle de Dresde, l\u2019Orchestre du Gewandhaus de Leipzig, le Philharmonique d\u2019Oslo et le San Francisco Symphony. \u00c0 l\u2019\u00e2ge de 92 ans, il reste tr\u00e8s actif au niveau international en tant que chef invit\u00e9. Wilhelm Stenhammar (1871-1927), jeune contemporain de Sibelius et Nielsen, est l\u2019un des plus grands compositeurs su\u00e9dois. Cet enregistrement en direct de sa Symphonie no 2<\/em> a \u00e9t\u00e9 r\u00e9alis\u00e9 il y a un peu plus de cinq ans et est repr\u00e9sentatif des normes \u00e9lev\u00e9es de pr\u00e9cision et d\u2019int\u00e9grit\u00e9 structurelle que le chef a appliqu\u00e9es tout au long de sa carri\u00e8re.<\/p>\n

Blomstedt n\u2019a jamais \u00e9t\u00e9 un chef d\u2019orchestre qui \u00ab\u00a0l\u00e2che prise\u00a0\u00bb avec des changements de tempo inattendus (par ex. Furtw\u00e4ngler) ou une vague d\u2019\u00e9motion (par ex. Bernstein). La plupart du temps, il donne des prestations qui vont \u00e0 l\u2019essentiel de ce que la musique exige. Dans le cas de la Symphonie no 2<\/em> de Stenhammar, cependant, j\u2019ai eu le sentiment qu\u2019il se retenait plus que le compositeur le pr\u00e9voyait. On retrouve beaucoup plus de passion et d\u2019exub\u00e9rance dans l\u2019enregistrement de 2009 de Neeme J\u00e4rvi (DG 4458572) avec le m\u00eame orchestre, ce qui explique que je revienne plus souvent \u00e0 l\u2019enregistrement de J\u00e4rvi qu\u2019\u00e0 celui de Blomstedt.\u00a0Paul Robinson<\/strong><\/p>\n

\n

Michael Oesterle: Cello Concerto<\/em><\/h4>\n

Ariel Barnes, cello. Manitoba Chamber
\nOrchestra\/Anne Manson<\/p>\n

MCO 09003<\/p>\n

Total Time: 21:31<\/p>\n

*** (3 stars)<\/p>\n

\"\"<\/a>Although based thematically on the progress of the Industrial Revolution (and in particular, iron production) in Great Britain, Michael Oesterle\u2019s five-movement Cello Concerto of 2017 is a relatively light-textured and largely tonal affair. The best of the five movements is the second, titled \u201cAbraham Darby,\u201d the name of three generations of iron engineers. A warm and distant horn is heard behind a quivering solo cello and pizzicato strings. One senses the conflict of progress and nature. Production is evoked in \u201cThe Bloomery Method\u201d by plucking and rarefied high-range pulses while the cello attempts to assert its independence. \u201cNed Ludd\u201d brings the piece to a conclusion not with Luddite violence but a folk tune (or facsimile). Cellist Ariel Barnes plays this whimsically. The Manitoba Chamber Orchestra under Anne Manson works hard at the syncopations and grinding sounds of \u201cThe Crucible Technique\u201d but cannot stoke up much of a fire. The timing of 21:31 suggests that this recording is intended more as a download product than as a CD. Arthur Kaptainis
\n<\/strong><\/p>\n

\n

Tchaikovsky: Symphony No. 6 in B minor Op. 74 \u201cPath\u00e9tique.\u201d<\/em><\/h4>\n

Orchestre philharmonique de Berlin\/Kirill Petrenko<\/p>\n

Berlin Phil Media BPHR 19026<\/p>\n

Dur\u00e9e\u00a0: 44 min<\/p>\n

***** (5 \u00e9toiles)<\/p>\n

\"\"<\/a>Le chef d\u2019orchestre d\u2019origine sib\u00e9rienne Kirill Petrenko assumera ses fonctions de chef principal du Philharmonique de Berlin d\u00e8s le mois d\u2019ao\u00fbt de cette ann\u00e9e. \u00c2g\u00e9 de 47 ans, il est peu connu sur la sc\u00e8ne internationale et sa nomination en tant que successeur de sir Simon Rattle par les membres de l\u2019orchestre a surpris. Jusqu\u2019\u00e0 pr\u00e9sent, Petrenko a \u00e9t\u00e9 principalement chef d\u2019orchestre d\u2019op\u00e9ra et a occup\u00e9 des postes importants \u00e0 Berlin et \u00e0 Munich. Par choix, il a tr\u00e8s peu enregistr\u00e9. Au vu de ce nouvel album, leur premier enregistrement ensemble, Petrenko et les Berlinois semblent promis \u00e0 un bel avenir.<\/p>\n

Parmi ses illustres pr\u00e9d\u00e9cesseurs sur la tribune du Philharmonique, Furtw\u00e4ngler et Karajan ont tous deux dirig\u00e9 d\u2019excellentes versions de la \u00ab\u00a0Path\u00e9tique\u00a0\u00bb de Tcha\u00efkovski. Bien que le nouvel enregistrement de Petrenko ait moins d\u2019individualit\u00e9 que les versions pr\u00e9c\u00e9dentes, il est n\u00e9anmoins d\u2019une qualit\u00e9 exceptionnelle. Le jeu orchestral est remarquable par son unanimit\u00e9 et la beaut\u00e9 de son timbre et Petrenko fait ressortir des d\u00e9tails rythmiques et dynamiques int\u00e9ressants sur presque chaque page de la partition. Surtout, cette prestation en direct est d\u2019une urgence envo\u00fbtante, du d\u00e9but \u00e0 la fin, sans jamais para\u00eetre pr\u00e9cipit\u00e9e ou incontr\u00f4l\u00e9e.\u00a0Paul Robinson<\/strong><\/p>\n

\n

Brahms: Symphony No. 3. Dvo\u0159\u00e1k: Symphony No. 8<\/em><\/h4>\n

Bamberger Symphoniker\/Jakub Hr\u016f\u0161a<\/p>\n

Tudor SACD 1743<\/p>\n

Total time: 75:43<\/p>\n

**** (4 stars)<\/p>\n

\"\"<\/a>The Bamberg Symphony was formed in 1946 by ethnic Germans expelled by the Czechs in retribution for the Nazi occupation. Based in Bavaria, it acquired a sound that was markedly different from the nearby Munich orchestras, let alone others in the state. Joseph Keilberth conducted the group with distinction for 20 years followed by Horst Stein. Since the turn of the century, the sound lost something of its edge under the British conductor Jonathan Nott. Now, in bedrock repertoire, it is reassuring to find that the Czech conductor Jakub Hr\u016f\u0161a has restored something of the original sonority, allowing the brass to go slightly sour without going out of tune and the strings to sound a little more laidback. The Brahms, gloriously bucolic though it is, feels like it could have done with an extra half-hour out in the summer sun. Hrusa will have more to say about it in years to come. The Dvo\u0159\u00e1k, however, is among the most exhilarating on record, fizzing with energy, surprises and life\u2019s pleasures. The recordings come live from Bamberg\u2019s Konzerthalle, which is superior in every imaginable respect to anything that Munich can offer. This is a fine band, returning to its best. Norman Lebrecht
\n<\/strong><\/p>\n

\n

Haydn: Symphonies transcribed for solo piano<\/em><\/h4>\n

Ivan Ili\u0107, piano<\/p>\n

Chandos CHAN 20142<\/p>\n

Total time: 68:42<\/p>\n

**** (4 stars)<\/p>\n

\"\"<\/a>The Department of It Never Rains But It Pours has delivered us a set of premiere recordings of three Haydn symphonies, reduced for piano solo. Last week, we reviewed Mozart, shrunk to four instruments. What\u2019s next \u2013 Wagner on the mandolin?<\/p>\n

There are two saving graces at play here. The transcription by Carl David Stegmann (1751-1826) is craftily inventive, leading the ear up paths never fully imagined by the original symphonist. And the interpretation by the Serbian-U.S. pianist Ivan Ili\u0107 has a splash of fun \u2013 mischief, even \u2013 that tells us not to take classical music always at its own pretensions.<\/p>\n

What\u2019s the music like? If I had listened blindfold to the Oxford Symphony<\/em> on solo piano, I would have guessed it to be an early Beethoven sonata, somewhere between Opus 2 and 10. Classically correct, the music keeps testing the limits of the genre. Not in any radical way by means of key-change or naughty chord, but by suggestion that there are more ways than one to resolve an opening statement (something Boris Johnson will have to learn very soon). A line that can sound workaday in Haydn\u2019s orchestration acquires a small question-mark in Stegmann\u2019s intriguing piano score.<\/p>\n

It comes as no surprise to discover, from the release\u2019s excellent notes, that Stegmann lived the last 15 years of his life in Bonn, Beethoven\u2019s birthplace, working for the resident publisher Simrock, a fount of Beethoven scores. Stegmann made 25 Haydn transcriptions in all and Simrock sold them to consumers as being \u201ceasily playable.\u201d If the Oxford<\/em> is my favourite of the three here on offer, there\u2019s plenty more to tweak the mind in Nos. 48 and 75. Haydn invented the classical sonata and the four-movement symphony. Without him, Mozart and Beethoven would have struggled for expression. Norman Lebrecht
\n<\/strong><\/p>\n

\n

Hindemith: Ludus Tonalis<\/em><\/h4>\n

K\u00e4bi Laretei, piano<\/p>\n

Decca Eloquence ELQ4840142<\/p>\n

Duration: 53:00<\/p>\n

**** (4 \u00e9toiles)<\/p>\n

\"\"<\/a>Durant le rigoureux processus de relecture des \u00e9preuves pour mon prochain livre, j\u2019avais besoin d\u2019une ambiance musicale qui pourrait m\u2019aider \u00e0 tenir le rythme sans me distraire par un exc\u00e8s d\u2019inventivit\u00e9. J\u2019ai pens\u00e9\u00a0: Hindemith, qui d\u2019autre\u00a0?<\/p>\n

Le compositeur allemand, condamn\u00e9 par les nazis comme \u00e9tant un moderniste dangereux, n\u2019a jamais \u00e9t\u00e9 qu\u2019un conservateur de nature c\u00e9r\u00e9brale poss\u00e9dant une oreille pour la forme correcte. Exil\u00e9 \u00e0 Istanbul, puis \u00e0 Yale, il a tir\u00e9 des larmes \u00e0 ses \u00e9tudiants en les assaillant de le\u00e7ons th\u00e9oriques rigoureuses et d\u2019un nombre incalculable d\u2019exercices techniques cruels cens\u00e9s faire d\u2019eux de meilleurs \u00eatres humains.<\/p>\n

Le Ludus Tonalis pour piano solo de 1943, jou\u00e9 pour la premi\u00e8re fois par Artur Schnabel \u00e0 Chicago la m\u00eame ann\u00e9e, est la tentative de Hindemith de reprendre \u00e0 sa mani\u00e8re les Variations Goldberg, contrapuntiques, comme un serpent souffrant de dyspepsie qui tourne dans tous les sens, frappant sans pr\u00e9venir. Comme un serpent \u00e0 sonnettes\u00a0: vous savez qu\u2019il est l\u00e0, mais vous n\u2019osez pas regarder.<\/p>\n

La pianiste dans ce rare enregistrement, r\u00e9\u00e9dit\u00e9 en 1965, est la r\u00e9fugi\u00e9e estonienne K\u00e4bi Laretei qui, en Su\u00e8de, est devenue la quatri\u00e8me \u00e9pouse du r\u00e9alisateur Ingmar Bergman. La raison pour laquelle elle n\u2019est pas mieux connue m\u2019\u00e9chappe. Elle a de la technique \u00e0 revendre et un sens naturel de l\u2019humeur que peu de pianistes peuvent reproduire. Son traitement de Hindemith est d\u2019une aust\u00e9rit\u00e9 ad\u00e9quate. Il n\u2019y a pas de sourires enj\u00f4leurs, pas de distractions (le d\u00eener en famille chez les Bergman devait \u00eatre amusant). J\u2019aurais bien voulu l\u2019entendre jouer du Webern.<\/p>\n

C\u2019est son Ludus qui a jou\u00e9 en arri\u00e8re-plan toute la semaine et, bien que je ne puisse pr\u00e9tendre aimer l\u2019\u0153uvre, je ne peux m\u2019emp\u00eacher d\u2019admirer les exercices de type matinal de Hindemith, son d\u00e9vouement tout allemand pour la disposition pr\u00e9cise des boulons et des \u00e9crous et le maniement impeccable du tournevis par Laretei. Inimitable. Norman Lebrecht
\n<\/strong><\/p>\n

\n

Korngold: Symphony in F Sharp; Theme and Variations; Straussiana<\/em><\/h4>\n

Sinfonia of London\/John Wilson<\/p>\n

Chandos CHSA 5220<\/p>\n

Total time: 58:42<\/p>\n

**** (4 stars)<\/p>\n

\"\"<\/a>At the end of the Second World War, Hollywood\u2019s most influential composer turned his attention to recovering his lost prestige in the concert hall. Erich Wolfgang Korngold had taken the precaution of retaining copyright in his movie scores so that he could reuse their themes in symphonic works. He set to work on a violin concerto for Jascha Heifetz and an uncommissioned symphony, anticipating no shortage of interest from orchestras in search of popular music.<\/p>\n

His hopes were soon dashed. The concerto was derided by New York critics when it reached Carnegie Hall and the Symphony in F Sharp, after a shabby Viennese premiere, was not heard again in the composer\u2019s lifetime. There was nothing wrong with either piece. What Korngold misjudged was the changed climate and his unadorned reliance on movie themes, which went down badly with more serious listeners.<\/p>\n

The first two movements of the Symphony are brass-heavy Errol Flynn swashbucklers, the Adagio is midway between late Brahms and Mahler, and the finale is back to Hollywood for a happy ending. The Sinfonia of London and John Wilson make a jolly good fist of this frisky material without fully convincing me that it deserves to be taken more seriously than, say, the symphonic music of Waxman, Rosza and other\u00a0daytime toilers in the dream factories.<\/p>\n

The two companion pieces are engaging \u2013 a set of theme and variations that Korngold wrote for American school orchestras and Straussiana<\/em>, a suite of that he knitted together from family waltzes. Both are charming in an olde-worlde way. They turned out to be his last works. Norman Lebrecht
\n<\/strong><\/p>\n

\n

Pfitzner and Braunfels: Piano Concertos<\/em><\/h4>\n

Markus Becker, piano.
\nRSO Berlin\/Constantin Trinks<\/p>\n

Hyperion CDA68258<\/p>\n

Total time: 74:06<\/p>\n

**** (4 stars)<\/p>\n

\"\"<\/a>The anniversary year of Hans Pfitzner (1869-1949) is marked by the re-emergence of a piano concerto that he wrote at the height of his fame. Pfitzner, acclaimed for his 1917 opera Palestrina,<\/em> delivered the concerto in 1923, with Walter Gieseking as soloist. If Palestrina<\/em> echoes Wagner\u2019s Meistersinger,<\/em> the concerto nods repeatedly in the direction of Brahms\u2019s B Flat \u2013 and the nodding is done mostly by the listener. Pfitzner\u2019s fallen reputation is sometimes ascribed to his gruesome flirtation with the Nazis but this concerto suggests something more organically at fault. Each of four movements is introduced by a promising idea, which promptly gets lost in a mound of bombastic waffle. I have seldom heard a piece that is so utterly all-over-the-place, so directionless and devoid of purpose that the eye strays to the wristwatch (only 40 more minutes to go) and the ear prays for an armistice.<\/p>\n

I toyed with the possibility that the soloist Markus Becker and conductor Constantin Trinks might have taken wrong tempi or, worse, taken Pfitzner at his own inflated estimation, but the second concerto on this\u00a0Hyperion release shows them to be skilled and sensitive interpreters of music by a composer of decidedly superior character. Walter Braunfels (1882-1954), who lived quietly in Cologne, had his music banned in the Third Reich on racial (half-Jewish) and religious (devout Catholic) grounds. A \u201cpiece for orchestra with piano obbligato\u201d that he wrote for the drawer in 1933-34 resurfaced only recently in the family archives, in 2017. Late-romantic, with the odd nod towards Hindemith, it represents an inner meditation of a lone soloist in a mass society gone mad. There is tension in the dialogue and tautness in the structure, with five contrasting movements and a surprisingly upbeat A-major ending. Bruckner and Mahler are primary influences, but Braunfels is his own master and he knows how to sustain attention. This timely discovery really should be taken up by our more adventurous symphony orchestras. Norman Lebrecht<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Les Sons et les Parfums Music by Tailleferre, Faur\u00e9, Poulenc, Chabrier, Debussy and Ravel. Janina Fialkowska, piano ATMA Classique ACD2 2766 Total Time: 56:11 ***** (5 stars) Montreal-born and internationally celebrated pianist Janina Fialkowska has recorded 13 CDs for ATMA Classique but none better than this one. This carefully selected survey of French piano music<\/p>\n

Continuer<\/a><\/div>\n","protected":false},"author":2814,"featured_media":389671,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"rating_form_position":"","rating_results_position":"","mr_structured_data_type":"","footnotes":""},"categories":[],"tags":[],"class_list":{"0":"post-389921","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"type-critique-de-disque","8":"volume-volume-25","9":"issue-vol-25-issue-1-fr","10":"section-critiques"},"featured_image_src":"https:\/\/aap5.myscena.org\/wp-content\/uploads\/2019\/09\/La-Scena-RSS-square-blue.jpg","blog_images":{"medium":"https:\/\/aap5.myscena.org\/wp-content\/uploads\/2019\/09\/La-Scena-RSS-square-blue-300x144.jpg","large":"https:\/\/aap5.myscena.org\/wp-content\/uploads\/2019\/09\/La-Scena-RSS-square-blue.jpg"},"acf":[],"aioseo_notices":[],"ams_acf":[{"key":"le_volume","label":"Le volume","value":[]},{"key":"numero","label":"Num\u00e9ro","value":[]},{"key":"source_url","label":"Source URL","value":""},{"key":"author_name","label":"Author","value":""},{"key":"editchoice","label":"Edit Choice","value":[]},{"key":"is_cover_story","label":"Is Cover Story","value":[]},{"key":"performer_1","label":"Performer 1","value":""},{"key":"performer_2","label":"Performer 2","value":""},{"key":"other_info","label":"Other info","value":""},{"key":"ink_amazon","label":"Ink Amazon","value":""},{"key":"archambault","label":"archambault link","value":""},{"key":"price","label":"Price","value":""}],"multi-rating":{"mr_rating_results":[]},"_links":{"self":[{"href":"https:\/\/aap5.myscena.org\/fr\/wp-json\/wp\/v2\/posts\/389921"}],"collection":[{"href":"https:\/\/aap5.myscena.org\/fr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/aap5.myscena.org\/fr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/aap5.myscena.org\/fr\/wp-json\/wp\/v2\/users\/2814"}],"replies":[{"embeddable":true,"href":"https:\/\/aap5.myscena.org\/fr\/wp-json\/wp\/v2\/comments?post=389921"}],"version-history":[{"count":0,"href":"https:\/\/aap5.myscena.org\/fr\/wp-json\/wp\/v2\/posts\/389921\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/aap5.myscena.org\/fr\/wp-json\/wp\/v2\/media\/389671"}],"wp:attachment":[{"href":"https:\/\/aap5.myscena.org\/fr\/wp-json\/wp\/v2\/media?parent=389921"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/aap5.myscena.org\/fr\/wp-json\/wp\/v2\/categories?post=389921"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/aap5.myscena.org\/fr\/wp-json\/wp\/v2\/tags?post=389921"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}