{"id":556,"date":"2021-01-30T21:43:15","date_gmt":"2021-01-30T21:43:15","guid":{"rendered":"http:\/\/mastersingers.org.uk\/?page_id=556"},"modified":"2024-04-06T21:36:18","modified_gmt":"2024-04-06T20:36:18","slug":"historic-wagner-voices","status":"publish","type":"page","link":"https:\/\/mastersingers.org.uk\/?page_id=556","title":{"rendered":"Historic Wagner Voices"},"content":{"rendered":"

<\/h3>\n

No.1 Friedrich Schorr \u00a0(1888 – 1953)<\/strong><\/h3>\n

\"\"<\/p>\n

Born in Hungary, Schorr was the son of a Jewish cantor himself possessed of a fine voice but who tried to persuade his son to study law. Young Friedrich had his heart set on the stage, however, and after making his opera debut in Philadelphia in 1912 as the Second Monk in Wolf-Ferrari’s I gioielli della Madonna<\/em>\u00a0he returned to Graz and sang his first Wotan Die Walk\u00fcre<\/em> at the age of twenty-three. He was affectionately nicknamed the baby Wotan<\/em> for several years afterwards – a response both to his age and his short stature.\u00a0Schorr went on to sing major roles (including Mozart and Verdi) in Prague, Cologne and Berlin but it was for\u00a0the Wagner repertoire that he was most in demand.\u00a0He\u00a0made his Covent Garden debut in 1924 in the Ring <\/em>as Wotan\/Wanderer and Gunther, conducted by Bruno Walter – in a season that, remarkably, also included house debuts by Frida Leider, Lotte Lehmann and Lauritz Melchior. He appeared at Covent Garden\u00a0regularly through the next nine seasons, adding Wolfram, Holl\u00e4nder, King Marke and Sachs to his London repertoire – roles he was\u00a0also singing\u00a0to acclaim in Bayreuth, San Francisco and at the Metropolitan in New York. His work in Europe ceased with the rise to power of the Nazis in 1933 but by then Schorr had emigrated to New York, where he continued to sing at the Met until 1943 and to teach until his death, in Connecticut, in 1953.<\/p>\n

Schorr insisted that Wagner should be sung in the style of Italian bel canto<\/em>, with emphasis on vowel production and sustained legato<\/em> in the vocal line. His recorded legacy is a testament to these principles, and yet his diction is always brilliantly clear and precise. He remains a towering figure in Wagnerian singing of the early 20th century. Enjoy this selection of his singing and the glory of a past era:<\/p>\n

Hans Sachs:<\/p>\n

Act 2 Was duftet doch der Flieder<\/em>\u00a0https:\/\/www.youtube.com\/watch?v=-4rj6nVhBQQ<\/a><\/p>\n

Act 3 Wahn! Wahn! \u00dcberall, Wahn!<\/em>\u00a0https:\/\/www.youtube.com\/watch?v=e_iKQhE9hEM<\/a><\/p>\n

Act 3 Verachtet mir die Meister nicht<\/em>\u00a0https:\/\/www.youtube.com\/watch?v=r7BPB1nOLcQ<\/a><\/p>\n

Wotan:<\/p>\n

Das Rheingold Abendlich strahlt der Sonne Auge<\/em><\/p>\n

https:\/\/www.youtube.com\/watch?v=1ycYbY4UkzE<\/a><\/p>\n

Die Walk\u00fcre Act 3 Leb wohl du k\u00fchnes herrliches Kind<\/em><\/p>\n

https:\/\/www.youtube.com\/watch?v=1ycYbY4UkzE<\/a><\/p>\n

Mendelssohn Elijah Herr Gott Abrahams<\/em><\/p>\n

https:\/\/www.youtube.com\/watch?v=urDfw6uXxMQ<\/a><\/p>\n

Mozart Don Giovanni Deh, vieni alla finestra<\/em><\/p>\n

https:\/\/www.youtube.com\/watch?v=m6Jp5UGSVHY<\/a><\/p>\n

\"\"<\/p>\n

Friedrich Schorr as Hans Sachs<\/p>\n

 <\/p>\n

No.2 \u00a0Frida Leider (1888 – 1975)<\/strong><\/h3>\n

\"\"<\/p>\n

Born in Berlin to working-class parents, Leider initially worked as a bank clerk to support her singing studies.\u00a0She made her stage debut as Venus Tannh\u00e4user<\/em> in Halle in 1915. “I was a dramatic soprano right from the beginning” she said and her repertoire included Aida, Norma, Amelia Ballo<\/em>, Santuzza, Donna Anna Don Giovanni<\/em>, Leonora Fidelio<\/em> and the Marschallin\u00a0as well as the major Wagnerian roles for which she is most famous. She appeared at Covent Garden for fifteen consecutive seasons between 1924 and 1938 as Br\u00fcnnhilde, Senta, Kundry and Isolde, as well as singing Leonora Il Trovatore,<\/em>\u00a0Donna Anna,\u00a0Marschallin and the title role in Gluck’s Armide<\/em>. Her solid vocal technique was built on a true bel canto<\/em> style of singing which she said she then developed for the demands of the heavy dramatic repertoire – a lyric soprano intensified<\/em>, as John\u00a0Steane described her.\u00a0Two remarkable recordings of Leider in Act 2 of G\u00f6tterd\u00e4mmerung<\/em>\u00a0at Covent Garden\u00a0survive from 1936 and 1938, conducted by Beecham and Furtw\u00e4ngler respectively: she is electrifying in both. The recorded sound is perhaps slightly better in the earlier version, and Melchior in great form as Siegfried. The comparison between the readings of these two great conductors is also fascinating.<\/p>\n

In addition to her London appearances, Leider sang in Vienna, Paris, Milan, Chicago, Buenos Aires and for two seasons at the Met in New York. She was also at Bayreuth in 1928 and again from 1933 – 38 in the Ring<\/em>, Tristan<\/em> and Parsifal<\/em>.\u00a0<\/em>Leider married Rudolf Deman, leader of the Berlin Staatsoper orchestra, in 1930. Deman was Jewish and with\u00a0the Anschluss<\/em> of Austria\u00a0in 1938\u00a0her operatic career in Germany ended and German artists were also prohibited from working abroad. \u00a0She was fifty years old. Frida escaped to Switzerland with her husband and only\u00a0after the war could she\u00a0return\u00a0to Berlin. She taught at the Hochschule\u00a0and worked as artistic advisor at the Staatsoper, where she also staged a production of Tristan<\/em>, conducted by Furtw\u00e4ngler.<\/p>\n

Rare footage of Leider and Max Lorenz rehearsing at Bayreuth in 1934:
\nhttps:\/\/www.youtube.com\/watch?v=YHRFrmoedDg<\/a><\/p>\n

Arias from Il Trovatore<\/em> (in German): remarkable legato!
\nhttps:\/\/www.youtube.com\/watch?v=HqMxdVASmC8<\/a><\/p>\n

G\u00f6tterd\u00e4mmerung<\/em> Act 2: Beecham (1936) and Furtw\u00e4ngler (1938):
\nhttps:\/\/www.youtube.com\/watch?v=8oRMfoo0LNQ&t=6330s<\/a><\/p>\n

Isolde’s Verkl\u00e4rung<\/em>, conducted by Barbirolli in 1931:
\nhttps:\/\/www.youtube.com\/watch?v=Ie5Z_ehN76g<\/a><\/p>\n

The Frida Leider Society website:\u00a0http:\/\/www.frida-leider.de\/en\/society.html<\/a><\/p>\n

\"\"<\/p>\n

Frida Leider as Isolde<\/p>\n

No.3 \u00a0Lauritz Melchior (1890 – 1973)<\/strong><\/h3>\n

\"\"<\/h4>\n

Born in Copenhagen, Melchior sang in a church choir as a boy soprano and then as a baritone with the Danish Royal Opera, make his debut as Silvio <\/span>I Pagliacci<\/em> in 1913. Studies with the Danish tenor Vilhelm Herold (who had sung Lohengrin and Walther at Covent Garden early in the 20th century) revealed the heldentenor in Melchior and he made his tenor debut as\u00a0Tannh\u00e4user in Copenhagen in 1918. By 1924 he was singing Siegmund at Covent Garden and at Bayreuth, where he also appeared as Parsifal in that year for the first time. He then sang at Bayreuth every season until 1931, and every year at Covent Garden from 1926 to 1939.<\/span>
\nMelchior’s Met debut in 1926 was also as Tannh\u00e4user but much greater acclaim followed his Tristan there in 1929. He sang at the Met until 1950, but much to his disappointment, only in the German repertoire. He longed to sing Otello and\u00a0Radomes\u00a0in New York, as he had done at Covent Garden, but Edward Johnson, Met General Manager, had Martinelli and Vinay for those roles and refused to cast Melchior alongside them.
\nAfter the war, Melchior appeared in five Hollywood movies and made frequent appearances on radio and television. He created the Melchior Foundation to help aspiring Heldentenors into the repertoire he had virtually made his own. There are numerous recordings of Lauritz Melchior, with many of the great singers and conductors of his generation. Frida Leider (featured in the March Newsletter) said that his Tristan “has not been equalled”. Listen to them here in the Act 2 duet, conducted by Albert Coates in 1929:<\/span>
\nhttps:\/\/www.youtube.com\/watch?v=gUslkjy992U<\/a><\/h4>\n

Forging song Siegfried<\/em> Act 1:\u00a0https:\/\/www.youtube.com\/watch?v=CN5NRmvXDF0<\/a><\/p>\n

In fernem Land Lohengrin<\/em> Act 3:\u00a0https:\/\/www.youtube.com\/watch?v=30MtfibgZio<\/a><\/p>\n

Other roles: Otello<\/em> Act 3 Dio mi potevi (in German):
\nhttps:\/\/www.youtube.com\/watch?v=QI5F-qF4gno<\/a><\/h4>\n

L’Africaine<\/em> O paradis (in German):\u00a0https:\/\/www.youtube.com\/watch?v=95fKYC7fbMs<\/a><\/p>\n

Torna a Surriento<\/em>, at the movies:\u00a0https:\/\/www.youtube.com\/watch?v=m4luX-POpJM<\/a><\/p>\n

The Lauritz Melchior website:
\nhttps:\/\/web.archive.org\/web\/20020806162246\/http:\/\/wap03.informatik.fh-wiesbaden.de\/weber1\/melchior\/melframe.html<\/a><\/p>\n

\"\"<\/p>\n

Lauritz Melchior as Siegfried<\/p>\n

No. 4 Ernestine Schumann-Heink (1861 – 1936)<\/strong><\/h3>\n

\"\"<\/p>\n

Ernestine Schumann-Heink was born in Bohemia, then part of the Austrian Empire, and made her operatic debut in Dresden as Azucena (!) at the age of 17. She\u00a0performed with the Hamburg\u00a0<\/span>Opera\u00a0under Gustav Mahler at\u00a0Covent Garden in 1892, and became well known for her performances of Wagner at Bayreuth, singing at the Festival there\u00a0from 1896 to 1914. She first sang at the Metropolitan Opera in 1899, and performed regularly\u00a0with the Met until 1932, her final performance being Erda in <\/span>Das Rheingold\u00a0<\/em>at the age of 71<\/span>.\u00a0In 1909, she created the r\u00f4le of Klytaemnestra in the world premiere\u00a0of Strauss’ Elektra<\/em>, of which she said she had no high opinion, calling it ‘a fearful din’. Strauss, for his part, was not entirely taken by Schumann-Heink; according to one story, during rehearsals he told the orchestra \u2018Louder! I can still hear Mme. Schumann-Heink!\u2019.\u00a0She became an American citizen in 1905 and spent the rest of her life living in the USA with her third husband, having raised seven children with her first two spouses.\u00a0Her\u00a0repertoire included all the Wagnerian mezzo\/contralto characters\u00a0and she also sang\u00a0Carmen, Fid\u00e8s Le Proph\u00e8te<\/em>and Katisha in The Mikado <\/em>among her many roles.<\/span><\/p>\n

Erda Das Rheingold<\/em> recorded in 1929 when she was 68:
\nhttps:\/\/www.youtube.com\/watch?v=sa9pXsrWDJo<\/a><\/p>\n

Rinaldo Lascia ch’io pianga <\/em>(1909):
\nhttps:\/\/www.youtube.com\/watch?v=DrDjZm4_n9I<\/a><\/p>\n

Stephen Foster Old folks at home<\/em> (1918):
\nhttps:\/\/www.youtube.com\/watch?v=KQ3pkW4Q_gE<\/a><\/p>\n

\"\"<\/p>\n

Ernestine Schumann-Heink as Waltraute, in Bayreuth<\/p>\n

 <\/p>\n

No.5 \u00a0Josef Metternich (1915 – 2005)<\/strong><\/h3>\n

\"\"<\/p>\n

Josef Metternich was born near Cologne. He became a member of the opera chorus\u00a0in\u00a0Cologne and then Bonn. After a short stay at the opera in\u00a0Wiesbaden he was engaged at the\u00a0St\u00e4dtische Oper, Berlin\u00a0where opera director Michael Bohnen gave him the opportunity to appear in roles such as Jago, Alfio, Simone, Pizarro, Escamillo, Figaro (Rossini), Conte di Luna and Amonasro, all of them within the same year! From 1946 onwards he became a highly esteemed singer in East\u00a0Germany and Italy.\u00a0Metternich made his only appearance\u00a0at Covent Garden in 1951, as the Holl\u00e4nder. From 1952 until 1959 he was a member of the Vienna State Opera and appeared at La Scala, the Paris\u00a0Op\u00e9ra, at the Edinburgh Festival (1952) and at several German opera houses. From 1953 until 1956 he sang at\u00a0the New York Met, where he debuted as Don Carlos La Forza del Destino<\/em>. His roles there\u00a0totalled 22 performances as\u00a0Tonio, Renato, Amonasro, Wolfram and Kurwenal. From 1954 he was a member at the opera houses of Munich, Berlin and Hamburg. He retired\u00a0in 1971\u00a0but continued as a\u00a0highly sought-after coach at the Musikhochschule K\u00f6ln until his death in 2005.<\/p>\n

Der fliegende Holl\u00e4nder – Die Frist ist um <\/em>:\u00a0https:\/\/www.youtube.com\/watch?v=2r3IayerPms<\/a>
\nDie tote Stadt – Mein Sehen, mein W\u00e4hnen<\/em>:\u00a0https:\/\/www.youtube.com\/watch?v=LgbJZdIVqqI<\/a>
\nLes Contes d’Hoffmann – Scintille diamant, in German<\/em>: https:\/\/www.youtube.com\/watch?v=sCVPU-QaW8g<\/a>
\nArabella Act 2\u00a0(with Elisabeth Schwarzkopf):\u00a0https:\/\/www.youtube.com\/watch?v=7b-Ow3dJo5Y<\/a><\/p>\n

\"\"<\/p>\n

Josef Metternich<\/p>\n

 <\/p>\n

No. 6 Hans Hotter (1909 – 2003)<\/strong><\/h3>\n

\"\"<\/p>\n

Born in Offenbach am Main, Hotter studied philosophy at Munich University alongside piano and organ at the Hochschule f\u00fcr Musik.\u00a0Initially intending to be a conductor, Hotter took singing lessons with Matth\u00e4us R\u00f6mer who persuaded him to pursue a vocal career. R\u00f6mer was to become his lifelong mentor and Hotter credited him with giving this sound advice:<\/span><\/p>\n

“Never sing Wagner with more than 85% of your voice.
\nMostly with not more than 65%. Always leave some elbow room”<\/span><\/p>\n

The young baritone made his operatic debut at the age of 21 in Opava; by 1934 he was singing in Hamburg and in 1937 Clemens Krauss engaged Hotter at the Munich Opera where his roles included Pizarro, Escamillo, Count Almaviva and Iago. Through Krauss, Hotter met and worked with Richard Strauss, creating the roles of Olivier in <\/span>Capriccio<\/em> (1942) and Jupiter in <\/span>Der Liebe der Danae<\/em> (1944). He went on to sing the great Wagner roles at the Vienna Opera for over thirty years as well as\u00a0regularly at Covent Garden, Bayreuth and the Met. Hotter also worked as a stage director, staging the Ring<\/em> at Covent Garden between 1961 -64.<\/span><\/p>\n

Equally at home\u00a0as a <\/span>Lieder<\/em> singer, Hotter’s performance of <\/span>Die Winterreise<\/em> was widely celebrated and he recorded it three times during\u00a0his long career. At the age of 80, he sang Schigolch in<\/span> Lulu<\/em> in San Francisco and Paris, to considerable acclaim and his farewell performance at the Proms in 1994 is remarkable to witness (see link below).<\/span><\/p>\n

“The singing voice derives organically from the speaking voice.
\nMusic and words, both are equally important for me.
\nBut I also study the rests, what happens in between”<\/p>\n

Hotter’s advice to young singers: “Remember, it is important to try not to be boring.”<\/p>\n

There is a wealth of recorded material available on YouTube, including three <\/span>Walk\u00fcre<\/em>Abschieds:<\/span><\/p>\n

1942 \u00a0Studio recording in Berlin, conductor Robert Heger\u00a0<\/span>\u00a0\u00a0https:\/\/www.youtube.com\/watch?v=TAWkrNoEfUE<\/a><\/p>\n

1956 at Bayreuth, conductor Hans Knappertsbusch\u00a0https:\/\/www.youtube.com\/watch?v=ZMSThCi28H8<\/a><\/p>\n

1965 for Belgian television, conductor Andr\u00e9 Vandernoot\u00a0https:\/\/www.youtube.com\/watch?v=9WhwHY8owxM<\/a><\/p>\n

and much else:<\/p>\n

1942\/3 Schubert Die Winterreise, with Michael Raucheisen\u00a0https:\/\/www.youtube.com\/watch?v=0GEyWlp0xSs<\/a><\/p>\n

1950 Bach Ich habe genug<\/em>, conductor Anthony Bernard\u00a0https:\/\/www.youtube.com\/watch?v=dvtxqTOgOpw<\/a><\/p>\n

1964 Schubert An die Musik\u00a0https:\/\/www.youtube.com\/watch?v=JGDsogVNoEA<\/a><\/span><\/p>\n

1994 Hotter (aged\u00a085!) as Narrator in Schoenberg’s Gurrelieder<\/em> at the Proms, conducted by Sir Andrew Davis:<\/span>\u00a0https:\/\/www.youtube.com\/watch?v=8mEu0UHmUHI<\/a><\/p>\n

Hotter sang both Amfortas and Gurnemanz during his career at Bayreuth – a complete performance of the latter is available here:<\/p>\n

\"\"<\/a><\/p>\n

Hans Knappertsbusch conducting\u00a0Parsifal<\/em> from Bayreuth with Hotter singing Gurnemanz and the young Jon Vickers in the title role<\/p>\n

\"\"<\/p>\n

Prologue to G\u00f6tterd\u00e4mmerung (1970) in Hotter’s production at Covent Garden designed by Gunther Schneider-Siemssen with Ludmilla Dvorakov\u00e1 and Karl-Josef Hering as Br\u00fcnnhilde and Siegfried<\/p>\n

No.7 \u00a0Kirsten Flagstad (1895 – 1962)<\/strong><\/h3>\n

<\/p>\n

Born in 1895 into a musical family, Flagstad was given a score of\u00a0Lohengrin<\/em>\u00a0on her tenth birthday and duly memorised the role of Elsa. Her early stage career in Norway was mainly in operetta and her debut in Wagner, not surprisingly as Elsa, came in 1929 at the age of 34. After singing the principal roles in\u00a0Tosca<\/em>\u00a0and\u00a0Aida<\/em>\u00a0in Oslo, Flagstad gave her first Isolde there in 1932. She was engaged at Bayreuth the following year and in 1934 sang Sieglinde and Gutrune at the Festival (with Frida Leider as Br\u00fcnnhilde). Her debut at the Metropolitan Opera in New York on February 2, 1935 as Sieglinde is the stuff of legend with critics and public in raptures over her performance. Four days later, she sang Isolde at the Met and over the following two months made her role debuts as Br\u00fcnnhilde (Die Walk\u00fcre<\/em>\u00a0&\u00a0G\u00f6tterd\u00e4mmerung<\/em>) and Kundry. She made her Covent Garden debut on May 18, 1936 as Isolde, with Melchior as Tristan and Fritz Reiner conducting, followed by a\u00a0Ring<\/em>\u00a0cycle with Beecham in the pit. Flagstad was in America when the second World War broke out and was the object of huge public opprobrium when she chose to return to her seriously ill husband in German occupied Norway. Her international career resumed only after his death, in 1947. Two years later she sang her 150th<\/sup>\u00a0Isolde in a performance at Covent Garden and in 1950 gave the world premiere of Strauss\u2019\u00a0Vier letzte Lieder<\/em>\u00a0with Furtw\u00e4ngler in the Royal Albert Hall. Repeatedly coaxed out of retirement, in 1958 Flagstad sang Fricka in Solti\u2019s\u00a0Rheingold<\/em>\u00a0recording for Decca. She\u00a0was the first director of the Norwegian National Opera.<\/p>\n

There is a wealth of recorded material featuring Kirsten Flagstad, most famously the Tristan<\/em> recording conducted by Furtw\u00e4ngler in 1952, with Ludwig Suthaus<\/p>\n

Mild und leise \u00a0Tristan und Isolde<\/em>\u00a0recorded in 1935 c. Hans Lange
\nhttps:\/\/www.youtube.com\/watch?v=HqtII_XdQN4<\/a><\/p>\n

Flagstad and Schorr in an excerpt from Die Walk\u00fcre<\/em> Act 3, recorded live in San Francisco in 1936 c. Gaetano Merola\u00a0https:\/\/pastdaily.com\/2015\/09\/27\/kirsten-flagstad-and-frederich-schorr-in-recital-1936-past-daily-weekend-gramophone\/<\/a>\u00a0 Be\u00a0prepared for a large cut near the end!<\/em><\/p>\n

Flagstad and Melchior in an excerpt from Lohengrin<\/em> Act 3, recorded in 1940 c. Edwin McArthur, her recital accompanist and biographer
\nhttps:\/\/www.youtube.com\/watch?v=4vbDMG886lo<\/a><\/p>\n

Vier letzte Lieder<\/em> Strauss, Philharmonia Orchestra c. Wilhelm Furtw\u00e4ngler 1950 (live recording)\u00a0https:\/\/www.youtube.com\/watch?v=WUl8IxU5zsM<\/a><\/p>\n

Erbarme dich <\/em>\u00a0Bach St. Matthew Passion, Philharmonia Orchestra
\nc. Walter Susskind 1950\u00a0\u00a0https:\/\/www.youtube.com\/watch?v=sv_s641HLY4<\/a><\/p>\n

Flagstad’s advice to young singers:\u00a0https:\/\/www.youtube.com\/watch?v=3PjMukkeG9s<\/a><\/p>\n

The Kirsten Flagstad museum in Hamar, north of Oslo:\u00a0https:\/\/kirsten-flagstad.no\/en<\/a><\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 <\/div>\n

Kirsten Flagstad as Isolde<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

No.1 Friedrich Schorr \u00a0(1888 – 1953) Born in Hungary, Schorr was the son of a Jewish cantor himself possessed of a fine voice but who tried to persuade his son to study law. Young Friedrich had his heart set on … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-556","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/mastersingers.org.uk\/index.php?rest_route=\/wp\/v2\/pages\/556","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/mastersingers.org.uk\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/mastersingers.org.uk\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/mastersingers.org.uk\/index.php?rest_route=\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/mastersingers.org.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=556"}],"version-history":[{"count":18,"href":"https:\/\/mastersingers.org.uk\/index.php?rest_route=\/wp\/v2\/pages\/556\/revisions"}],"predecessor-version":[{"id":789,"href":"https:\/\/mastersingers.org.uk\/index.php?rest_route=\/wp\/v2\/pages\/556\/revisions\/789"}],"wp:attachment":[{"href":"https:\/\/mastersingers.org.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=556"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}