{"id":1076449,"date":"2025-02-07T08:04:34","date_gmt":"2025-02-07T13:04:34","guid":{"rendered":"https:\/\/myscena.org\/?p=1076449"},"modified":"2025-02-07T08:04:34","modified_gmt":"2025-02-07T13:04:34","slug":"giacomo-puccini-cinq-grands-duos-damour","status":"publish","type":"post","link":"https:\/\/myscena.org\/fr\/gianmarco-segato\/giacomo-puccini-cinq-grands-duos-damour\/","title":{"rendered":"Giacomo Puccini: Cinq grands duos d&#8217;amour"},"content":{"rendered":"<p class=\"has-drop-cap has-medium-font-size\">Pour c\u00e9l\u00e9brer le mois de la Saint-Valentin, l&#8217;\u00e9quipe d&#8217;experts en op\u00e9ra de La Scena Musicale pr\u00e9sente cinq grands duos d&#8217;amour de Puccini.<!-- \/wp:paragraph --><\/p>\n<div id=\"attachment_1076432\" style=\"width: 173px\" class=\"wp-caption alignleft\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-1076432\" class=\" wp-image-1076431\" src=\"https:\/\/myscena.org\/wp-content\/uploads\/2025\/01\/Franco-Corelli-Renata-Tebaldi.jpg\" alt=\"Puccini\" width=\"163\" height=\"131\" srcset=\"https:\/\/myscena.org\/wp-content\/uploads\/2025\/01\/Franco-Corelli-Renata-Tebaldi.jpg 449w, https:\/\/myscena.org\/wp-content\/uploads\/2025\/01\/Franco-Corelli-Renata-Tebaldi-300x241.jpg 300w\" sizes=\"(max-width: 163px) 100vw, 163px\" \/><p id=\"caption-attachment-1076432\" class=\"wp-caption-text\">Franco Corelli &amp; Renata Tebaldi<\/p><\/div>\n<h5>\u201cTu, tu, amore? Tu?\u201d <em>Manon Lescaut<\/em><\/h5>\n<p>En mati\u00e8re de duos d\u2019amour, personne ne peut battre le grand Giacomo Puccini, le ma\u00eetre du v\u00e9risme italien. Lorsque vous avez de grands acteurs chantants dans une production cr\u00e9dible, un duo d\u2019amour de Puccini est vraiment flamboyant. En t\u00eate de ma liste figure le duo de l\u2019acte 2 de Manon Lescaut <em>Tu, tu, amore? Tu? chant\u00e9<\/em> par Manon et Des Grieux, deux amants mal aim\u00e9s. J\u2019ai eu la chance d\u2019entendre de merveilleux chanteurs dans ce duo au Met pendant mes \u00e9tudes.<\/p>\n<p><span style=\"font-size: 14px;\"><strong>Interpr\u00e8tes<\/strong>\u00a0: la grande Renata Tebaldi et l\u2019incroyable Franco Corelli peuvent \u00eatre vus sur YouTube \u00e0 un gala du Met en 1966. Pour les meilleurs chanteurs actuels, je choisirais Jonas Kaufmann et Kristine Opolais. Je les ai entendus chanter cet op\u00e9ra \u00e0 Covent Garden il y a dix ans (\u00e9galement sur YouTube), et c\u2019\u00e9tait inoubliable. <\/span><strong style=\"font-size: 14px;\">JS<\/strong><\/p>\n<p><iframe loading=\"lazy\"  id=\"_ytid_98301\"  width=\"702\" height=\"394\"  data-origwidth=\"702\" data-origheight=\"394\" src=\"https:\/\/www.youtube.com\/embed\/xMI-OWbPgfY?enablejsapi=1&#038;autoplay=0&#038;cc_load_policy=0&#038;cc_lang_pref=&#038;iv_load_policy=1&#038;loop=0&#038;rel=1&#038;fs=1&#038;playsinline=0&#038;autohide=2&#038;theme=dark&#038;color=red&#038;controls=1&#038;\" class=\"__youtube_prefs__  epyt-is-override  no-lazyload\" title=\"YouTube player\"  allow=\"fullscreen; accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen data-no-lazy=\"1\" data-skipgform_ajax_framebjll=\"\"><\/iframe><\/p>\n<div id=\"attachment_1076434\" style=\"width: 191px\" class=\"wp-caption alignleft\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-1076434\" class=\" wp-image-1076433\" src=\"https:\/\/myscena.org\/wp-content\/uploads\/2025\/01\/Luciano-Pavarotti-Mirella-Freni-in-rehearsal-for-La-boheme-1996-1024x707.jpg\" alt=\"Puccini\" width=\"181\" height=\"125\" srcset=\"https:\/\/myscena.org\/wp-content\/uploads\/2025\/01\/Luciano-Pavarotti-Mirella-Freni-in-rehearsal-for-La-boheme-1996-1024x707.jpg 1024w, https:\/\/myscena.org\/wp-content\/uploads\/2025\/01\/Luciano-Pavarotti-Mirella-Freni-in-rehearsal-for-La-boheme-1996-300x207.jpg 300w, https:\/\/myscena.org\/wp-content\/uploads\/2025\/01\/Luciano-Pavarotti-Mirella-Freni-in-rehearsal-for-La-boheme-1996-600x414.jpg 600w, https:\/\/myscena.org\/wp-content\/uploads\/2025\/01\/Luciano-Pavarotti-Mirella-Freni-in-rehearsal-for-La-boheme-1996-768x530.jpg 768w, https:\/\/myscena.org\/wp-content\/uploads\/2025\/01\/Luciano-Pavarotti-Mirella-Freni-in-rehearsal-for-La-boheme-1996.jpg 1046w\" sizes=\"(max-width: 181px) 100vw, 181px\" \/><p id=\"caption-attachment-1076434\" class=\"wp-caption-text\">Luciano Pavarotti &amp; Mirella Freni in rehearsal for La boh\u00e8me, 1996<\/p><\/div>\n<h5>\u201cO soave fanciulla\u201d <em>La boh\u00e8me<\/em><\/h5>\n<p>C\u2019est l\u2019un des duos les plus romantiques du r\u00e9pertoire lyrique. On y retrouve toute l\u2019ampleur de l\u2019expression amoureuse de Puccini, renforc\u00e9e ici par le mariage de deux voix aigu\u00ebs qui finissent par se rejoindre. Dans son appartement, Rodolfo admire le visage de Mim\u00ec, \u00e9clair\u00e9 par le clair de lune, et n\u2019h\u00e9site pas \u00e0 la couvrir de compliments. La jeune femme succombe au charme du po\u00e8te. Tous deux s\u2019avouent leur amour, entre plusieurs baisers, avant de rejoindre leurs amis. La particularit\u00e9 d\u2019<em>O soave fanciulla<\/em> est qu\u2019il s\u2019agit plut\u00f4t d\u2019une aria \u00e0 deux voix o\u00f9 la r\u00e9plique de chaque chanteur est aussi belle et aussi forte en \u00e9motion que celle de l\u2019autre. Il y a aussi l\u2019effet de spatialisation musicale obtenu par le retrait progressif du couple dans les coulisses pour les derni\u00e8res envol\u00e9es.<\/p>\n<p><span style=\"font-size: 14px;\"><strong>Interpr\u00e8tes<\/strong>\u00a0: l\u2019enregistrement sugg\u00e9r\u00e9 est celui de Luciano Pavarotti et Mirella Freni, deux chanteurs n\u00e9s \u00e0 Mod\u00e8ne, Italie (<a href=\"https:\/\/www.gramophone.co.uk\/news\/article\/decca-releases-new-edition-of-pavarotti-and-freni-s-la-boheme\" target=\"_blank\" rel=\"noopener\">Decca, 1972<\/a>) ou, pour un spectacle en direct, Roberto Alagna et Leontina Vaduva (Op\u00e9ra Bastille, 1995) <\/span><strong style=\"font-size: 14px;\">JB<\/strong><\/p>\n<p><iframe loading=\"lazy\"  id=\"_ytid_85002\"  width=\"702\" height=\"394\"  data-origwidth=\"702\" data-origheight=\"394\" src=\"https:\/\/www.youtube.com\/embed\/nKewrRcukRo?enablejsapi=1&#038;autoplay=0&#038;cc_load_policy=0&#038;cc_lang_pref=&#038;iv_load_policy=1&#038;loop=0&#038;rel=1&#038;fs=1&#038;playsinline=0&#038;autohide=2&#038;theme=dark&#038;color=red&#038;controls=1&#038;\" class=\"__youtube_prefs__  epyt-is-override  no-lazyload\" title=\"YouTube player\"  allow=\"fullscreen; accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen data-no-lazy=\"1\" data-skipgform_ajax_framebjll=\"\"><\/iframe><\/p>\n<div id=\"attachment_1076430\" style=\"width: 206px\" class=\"wp-caption alignleft\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-1076430\" class=\" wp-image-1076429\" src=\"https:\/\/myscena.org\/wp-content\/uploads\/2025\/01\/Eva-Urbanova-as-Turandot.jpg\" alt=\"Puccini\" width=\"196\" height=\"147\" srcset=\"https:\/\/myscena.org\/wp-content\/uploads\/2025\/01\/Eva-Urbanova-as-Turandot.jpg 1024w, https:\/\/myscena.org\/wp-content\/uploads\/2025\/01\/Eva-Urbanova-as-Turandot-300x225.jpg 300w, https:\/\/myscena.org\/wp-content\/uploads\/2025\/01\/Eva-Urbanova-as-Turandot-600x450.jpg 600w, https:\/\/myscena.org\/wp-content\/uploads\/2025\/01\/Eva-Urbanova-as-Turandot-768x576.jpg 768w\" sizes=\"(max-width: 196px) 100vw, 196px\" \/><p id=\"caption-attachment-1076430\" class=\"wp-caption-text\">Eva Urbanov\u00e1 as Turandot<\/p><\/div>\n<h5>Final duet, <em>Turandot<\/em><\/h5>\n<p>Le dernier op\u00e9ra de Puccini, <em>Turandot<\/em>, est rest\u00e9 inachev\u00e9 en raison de la mort pr\u00e9matur\u00e9e du compositeur. Il a \u00e9t\u00e9 cr\u00e9\u00e9 au Teatro alla Scala en 1926, avec la finale du compositeur Franco Alfano, bas\u00e9e sur des fragments de lignes vocales et des instructions d\u2019orchestration laiss\u00e9es par Puccini. La fin d\u2019Alfano a toujours suscit\u00e9 beaucoup de controverses et d\u2019insatisfaction de la part de la critique, ce qui a conduit \u00e0 la commande de nombreuses autres fins. La plus c\u00e9l\u00e8bre d\u2019entre elles est celle que le compositeur italien Luciano Berio a r\u00e9alis\u00e9e en 2002. Ses notes vocales proviennent de l\u2019ach\u00e8vement d\u2019Alfano, mais leur orchestration plus dissonante refl\u00e8te mieux le traumatisme de l\u2019histoire. Le personnage-titre a laiss\u00e9 une longue lign\u00e9e de pr\u00e9tendants qui sont sommairement ex\u00e9cut\u00e9s lorsqu\u2019ils sont incapables de r\u00e9pondre \u00e0 ses \u00e9nigmes d\u00e9routantes. Dans ce contexte, l\u2019onction plus famili\u00e8re d\u2019Alfano de Turandot et Calaf comme couple heureux, avec son rappel du grand air de l\u2019op\u00e9ra, <em>Nessun dorma<\/em>, peut friser l\u2019absurde.<\/p>\n<p><span style=\"font-size: 14px;\"><strong>Interpr\u00e8tes<\/strong>\u00a0: un enregistrement recommand\u00e9 pour la fin de Berio est le Puccini Discoveries de 2003 sur Decca o\u00f9 Riccardo Chailly dirige la soprano Eva Urbanov\u00e1 et le t\u00e9nor Dario Volont\u00e9. <\/span><strong style=\"font-size: 14px;\">GS<\/strong><\/p>\n<p><iframe loading=\"lazy\"  id=\"_ytid_28799\"  width=\"702\" height=\"394\"  data-origwidth=\"702\" data-origheight=\"394\" src=\"https:\/\/www.youtube.com\/embed\/iPblqEspFEw?enablejsapi=1&#038;autoplay=0&#038;cc_load_policy=0&#038;cc_lang_pref=&#038;iv_load_policy=1&#038;loop=0&#038;rel=1&#038;fs=1&#038;playsinline=0&#038;autohide=2&#038;theme=dark&#038;color=red&#038;controls=1&#038;\" class=\"__youtube_prefs__  epyt-is-override  no-lazyload\" title=\"YouTube player\"  allow=\"fullscreen; accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen data-no-lazy=\"1\" data-skipgform_ajax_framebjll=\"\"><\/iframe><\/p>\n<div id=\"attachment_1076436\" style=\"width: 229px\" class=\"wp-caption alignleft\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-1076436\" class=\" wp-image-1076435\" src=\"https:\/\/myscena.org\/wp-content\/uploads\/2025\/01\/Roberto-Alagna-Angela-Gheorghiu-in-La-Rondine-Met-Opera-2009-1024x811.jpg\" alt=\"Puccini\" width=\"219\" height=\"173\" srcset=\"https:\/\/myscena.org\/wp-content\/uploads\/2025\/01\/Roberto-Alagna-Angela-Gheorghiu-in-La-Rondine-Met-Opera-2009-1024x811.jpg 1024w, https:\/\/myscena.org\/wp-content\/uploads\/2025\/01\/Roberto-Alagna-Angela-Gheorghiu-in-La-Rondine-Met-Opera-2009-300x238.jpg 300w, https:\/\/myscena.org\/wp-content\/uploads\/2025\/01\/Roberto-Alagna-Angela-Gheorghiu-in-La-Rondine-Met-Opera-2009-600x475.jpg 600w, https:\/\/myscena.org\/wp-content\/uploads\/2025\/01\/Roberto-Alagna-Angela-Gheorghiu-in-La-Rondine-Met-Opera-2009-768x608.jpg 768w, https:\/\/myscena.org\/wp-content\/uploads\/2025\/01\/Roberto-Alagna-Angela-Gheorghiu-in-La-Rondine-Met-Opera-2009-1536x1216.jpg 1536w, https:\/\/myscena.org\/wp-content\/uploads\/2025\/01\/Roberto-Alagna-Angela-Gheorghiu-in-La-Rondine-Met-Opera-2009.jpg 1860w\" sizes=\"(max-width: 219px) 100vw, 219px\" \/><p id=\"caption-attachment-1076436\" class=\"wp-caption-text\">Roberto Alagna &amp; Angela Gheorghiu in La Rondine, Met Opera, 2009<\/p><\/div>\n<h5>Final duet, <em>La Rondine<\/em><\/h5>\n<p>Le dernier op\u00e9ra de Puccini, <em>Turandot<\/em>, est rest\u00e9 inachev\u00e9 en raison de la mort pr\u00e9matur\u00e9e du compositeur. Il a \u00e9t\u00e9 cr\u00e9\u00e9 au Teatro alla Scala en 1926, avec la finale du compositeur Franco Alfano, bas\u00e9e sur des fragments de lignes vocales et des instructions d\u2019orchestration laiss\u00e9es par Puccini. La fin d\u2019Alfano a toujours suscit\u00e9 beaucoup de controverses et d\u2019insatisfaction de la part de la critique, ce qui a conduit \u00e0 la commande de nombreuses autres fins. La plus c\u00e9l\u00e8bre d\u2019entre elles est celle que le compositeur italien Luciano Berio a r\u00e9alis\u00e9e en 2002. Ses notes vocales proviennent de l\u2019ach\u00e8vement d\u2019Alfano, mais leur orchestration plus dissonante refl\u00e8te mieux le traumatisme de l\u2019histoire. Le personnage-titre a laiss\u00e9 une longue lign\u00e9e de pr\u00e9tendants qui sont sommairement ex\u00e9cut\u00e9s lorsqu\u2019ils sont incapables de r\u00e9pondre \u00e0 ses \u00e9nigmes d\u00e9routantes. Dans ce contexte, l\u2019onction plus famili\u00e8re d\u2019Alfano de Turandot et Calaf comme couple heureux, avec son rappel du grand air de l\u2019op\u00e9ra, <em>Nessun dorma<\/em>, peut friser l\u2019absurde.<\/p>\n<p><span style=\"font-size: 14px;\"><strong>Interpr\u00e8tes<\/strong>\u00a0: un enregistrement recommand\u00e9 pour la fin de Berio est le Puccini Discoveries de 2003 sur Decca o\u00f9 Riccardo Chailly dirige la soprano Eva Urbanov\u00e1 et le t\u00e9nor Dario Volont\u00e9. <\/span><strong style=\"font-size: 14px;\">AR<\/strong><\/p>\n<p><iframe loading=\"lazy\"  id=\"_ytid_26668\"  width=\"702\" height=\"394\"  data-origwidth=\"702\" data-origheight=\"394\" src=\"https:\/\/www.youtube.com\/embed\/zSklQLkoymE?enablejsapi=1&#038;autoplay=0&#038;cc_load_policy=0&#038;cc_lang_pref=&#038;iv_load_policy=1&#038;loop=0&#038;rel=1&#038;fs=1&#038;playsinline=0&#038;autohide=2&#038;theme=dark&#038;color=red&#038;controls=1&#038;\" class=\"__youtube_prefs__  epyt-is-override  no-lazyload\" title=\"YouTube player\"  allow=\"fullscreen; accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen data-no-lazy=\"1\" data-skipgform_ajax_framebjll=\"\"><\/iframe><\/p>\n<div id=\"attachment_1076438\" style=\"width: 200px\" class=\"wp-caption alignleft\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-1076438\" class=\" wp-image-1076437\" src=\"https:\/\/myscena.org\/wp-content\/uploads\/2025\/01\/Zinka-Milanov-as-Tosca-1946.jpg\" alt=\"\" width=\"190\" height=\"253\" srcset=\"https:\/\/myscena.org\/wp-content\/uploads\/2025\/01\/Zinka-Milanov-as-Tosca-1946.jpg 640w, https:\/\/myscena.org\/wp-content\/uploads\/2025\/01\/Zinka-Milanov-as-Tosca-1946-300x398.jpg 300w, https:\/\/myscena.org\/wp-content\/uploads\/2025\/01\/Zinka-Milanov-as-Tosca-1946-600x797.jpg 600w, https:\/\/myscena.org\/wp-content\/uploads\/2025\/01\/Zinka-Milanov-as-Tosca-1946-226x300.jpg 226w\" sizes=\"(max-width: 190px) 100vw, 190px\" \/><p id=\"caption-attachment-1076438\" class=\"wp-caption-text\">Zinka Milanov as Tosca, 1946<\/p><\/div>\n<h5>\u201cMario! Mario! Mario!\u201d <em>Tosca<\/em><\/h5>\n<p>Au d\u00e9but de l\u2019op\u00e9ra, ce duo met en place la succession de m\u00e9lodies harmonieuses du chef-d\u2019\u0153uvre pour Tosca et Cavaradossi. Au d\u00e9-but, Tosca est jalouse de la femme repr\u00e9sent\u00e9e dans le tableau de Cavaradossi, mais au fil du duo, il apaise ses craintes. Le flux et reflux de leur p\u00e9riple \u00e9motionnel est accompagn\u00e9 et transcend\u00e9 par la musique. Seul Puccini peut insuffler \u00e0 la musique et au texte une \u00e9motion aussi palpable.<\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-size: 14px;\"><strong>Interpr\u00e8tes<\/strong>\u00a0: l\u2019enregistrement de 1957 de Jussi Bjoerling et Zinka Milanov sur <a href=\"https:\/\/www.musicweb-international.com\/classrev\/2020\/Jan\/Puccini_Tosca_PACO163.htm\" target=\"_blank\" rel=\"noopener\">RCA Victor<\/a> est la r\u00e9f\u00e9rence en la mati\u00e8re. <\/span><strong style=\"font-size: 14px;\">WKC<\/strong><\/p>\n<p class=\"Translator\"><span lang=\"FR\">Traduction\u00a0: Charles Angers<\/span><\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Pour c\u00e9l\u00e9brer le mois de la Saint-Valentin, l&#8217;\u00e9quipe d&#8217;experts en op\u00e9ra de La Scena Musicale pr\u00e9sente cinq grands duos d&#8217;amour de Puccini. \u201cTu, tu, amore? Tu?\u201d Manon Lescaut En mati\u00e8re de duos d\u2019amour, personne ne peut battre le grand Giacomo Puccini, le ma\u00eetre du v\u00e9risme italien. Lorsque vous avez de grands acteurs chantants dans une<\/p>\n<div class=\"read-more hi\"><a href=\"https:\/\/myscena.org\/fr\/gianmarco-segato\/giacomo-puccini-cinq-grands-duos-damour\/\" title=\"Continuer\">Continuer<\/a><\/div>\n","protected":false},"author":21249,"featured_media":1076453,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"rating_form_position":"","rating_results_position":"","mr_structured_data_type":"","footnotes":""},"categories":[394],"tags":[60300,58864,60298,60297,24177,57857,59540,5091],"class_list":{"0":"post-1076449","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-musique-classique","8":"tag-duos","9":"tag-la-boheme-fr","10":"tag-la-rondine-fr","11":"tag-manon-lescaut-fr","12":"tag-opera-fr-77","13":"tag-puccini-fr","14":"tag-tosca-fr","15":"tag-turandot","16":"type-article-fr","17":"volume-volume-30","18":"issue-vol-30-issue-5-fr","19":"section-articles-de-fond"},"featured_image_src":"https:\/\/myscena.org\/wp-content\/uploads\/2025\/01\/pavarotti-mirella-freni-1385997713-view-0.jpg","blog_images":{"medium":"https:\/\/myscena.org\/wp-content\/uploads\/2025\/01\/pavarotti-mirella-freni-1385997713-view-0-300x223.jpg","large":"https:\/\/myscena.org\/wp-content\/uploads\/2025\/01\/pavarotti-mirella-freni-1385997713-view-0.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:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/posts\/1076449"}],"collection":[{"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/users\/21249"}],"replies":[{"embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/comments?post=1076449"}],"version-history":[{"count":0,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/posts\/1076449\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/media\/1076453"}],"wp:attachment":[{"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/media?parent=1076449"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/categories?post=1076449"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/tags?post=1076449"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}