{"id":21121,"date":"2024-11-08T15:26:50","date_gmt":"2024-11-08T20:26:50","guid":{"rendered":"https:\/\/www.esm.rochester.edu\/sibley\/?p=21121"},"modified":"2024-11-08T16:23:59","modified_gmt":"2024-11-08T21:23:59","slug":"nov4-nov10","status":"publish","type":"post","link":"https:\/\/www.esm.rochester.edu\/sibley\/2024\/11\/nov4-nov10\/","title":{"rendered":"Nov 4th-10th: Benjamin Britten\u2019s Albert Herring"},"content":{"rendered":"

[vc_row][vc_column][vc_column_text css=”.vc_custom_1731097597030{background-color: #ffffff !important;}”]Published on Nov 4th, 2024<\/em><\/p>\n

Back to This Week at Eastman<\/a><\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” css=”.vc_custom_1658327150379{background-color: #f4f4f4 !important;}”][vc_column css=”.vc_custom_1726852979961{padding-top: 20px !important;padding-bottom: 20px !important;}”][vc_custom_heading text=”1988: Benjamin Britten\u2019s Albert Herring in a modern setting” font_container=”tag:h3|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1731092874521{border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;border-left-style: solid !important;border-right-style: solid !important;border-top-style: solid !important;border-bottom-style: solid !important;border-radius: 1px !important;border-color: #dddddd !important;}”][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” css=”.vc_custom_1658327150379{background-color: #f4f4f4 !important;}”][vc_column width=”2\/3″ css=”.vc_custom_1729000374562{padding-bottom: 20px !important;}”][vc_column_text css=”.vc_custom_1731101026672{margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;}”]Thirty-six years ago this week, on November 4-6, 1988, Eastman Opera Theater staged Benjamin Britten\u2019s Albert Herring <\/em>in Kilbourn Hall, <\/em>marking the fourth Eastman production of that opera.[1]<\/a>\u00a0<\/sup> Directed by Richard Pearlman and conducted by David Effron, the production was double-cast for four performances. \u00a0A chamber opera in three acts with libretto by Eric Crozier (1914-1994), Albert Herring <\/em>was the fourth of Britten\u2019s seventeen operas.\u00a0 Britten (1913-1976) wrote Albert Herring, <\/em>his only truly comic opera, for the newly formed English Opera Group, which gave the premiere at Glyndebourne on June 20th<\/sup>, 1947 with the composer conducting. The opera was dedicated to novelist E. M. Forster (1879-1970), with whom Britten would maintain a growing association over the ensuing years.\u00a0 With its vast comic appeal and its numerically finite forces (13 singing roles and a 13-piece orchestra), Albert Herring <\/em>quickly became a staple in the repertory; in particular, it forms a convenient and accessible vehicle for university and collegiate forces.\u00a0 Librettist Crozier based the libretto on the short story Le Rosier de Madame Husson <\/em>(1888) by French novelist and poet Guy de Maupassant (1850-1893), transferring the story\u2019s setting from provincial France to an East Anglian village around 1900.\u00a0 The printed program (displayed here) contains both the synopsis written by Mr. Crozier for the premiere and Mr. Pearlman\u2019s Director\u2019s Notes.[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_images_carousel images=”21128,21129,21130,21131,21132,21133,21134,21135″ img_size=”320×490″ wrap=”yes” css=””][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” gap=”20″ equal_height=”yes” content_placement=”top” css=”.vc_custom_1731093341024{background-color: #f4f4f4 !important;}”][vc_column width=”1\/2″ css=”.vc_custom_1731093265269{padding-bottom: 20px !important;background-color: #ffffff !important;}”][vc_single_image image=”21123″ img_size=”medium” add_caption=”yes” alignment=”center” onclick=”link_image” css=”.vc_custom_1731097337710{padding-top: 20px !important;padding-bottom: 20px !important;}”][\/vc_column][vc_column width=”1\/2″ css=”.vc_custom_1730145962523{padding-bottom: 20px !important;background-color: #ffffff !important;}”][vc_single_image image=”21124″ img_size=”medium” add_caption=”yes” alignment=”center” onclick=”link_image” css=”.vc_custom_1731097357183{padding-top: 20px !important;padding-bottom: 20px !important;}”][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” css=”.vc_custom_1658327150379{background-color: #f4f4f4 !important;}”][vc_column css=”.vc_custom_1729000374562{padding-bottom: 20px !important;}”][vc_column_text css=”.vc_custom_1731094968917{margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;}”]For purposes of this account, Albert Herring <\/em>is set in the fictional town of Loxford, where the action evolves around young Albert, who works in his mother\u2019s greengrocer\u2019s shop.\u00a0 So thoroughly the widowed Mrs. Herring rule young Albert\u2019s life that he essentially has<\/em> no life.\u00a0 When the village\u2019s autocratic noblewoman, Lady Billows, casts about for an eligible young woman to be crowned Queen of the May (or the May Queen), every potential candidate is deemed morally wanting.\u00a0 By way of a pragmatic solution, a May King<\/em> will be crowned, and the well-behaved (if mousy and beleaguered) Albert Herring is selected for the honor. Come May Day, Albert receives the honor with little manifest enthusiasm, and following his coronation, he disappears for a night of debauchery, stimulated by the spiked lemonade he has drunk (thanks, Sid!).\u00a0 On returning the following morning, Albert faces a chorus of disapproval\u2014none of which matters to him, for he is now richer in experience and has learned the value of his independence. Writing in his Director\u2019s Notes, Mr. Pearlman commented on the opera\u2019s \u201cwry view of human nature and the hypocrisy and claustrophobia of small town life\u201d that in Albert Herring <\/em>are \u201cso well observed as to be universal and timeless.\u201d\u00a0 Several paradigms can apply here: a conflict of the young vs. the aged, the new vs. the time-honored (but potentially outmoded), and the tensions that arise when the interests of the individual clash with those of the surrounding collective. Indeed, the latter was a central concern in several of Britten\u2019s operas.[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” css=”.vc_custom_1658327150379{background-color: #f4f4f4 !important;}”][vc_column css=”.vc_custom_1729000374562{padding-bottom: 20px !important;}”][vc_column_text css=”.vc_custom_1731096405776{margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;}”]The 1988 production was unusual for EOT in that it was set contemporaneously.\u00a0 Director Pearlman never hesitated to re-imagine operas according to his well-founded artistic convictions, but the contemporaneous setting represented something unique in EOT\u2019s experience. Mr. Pearlman saw in Albert Herring <\/em>\u201chumor and darker implications\u201d that rendered it ideal for updating\u2014in this instance, transferred from 1900 to 1988, or as Mr. Pearlman noted, \u201cthe land of Monty Python, Margaret Thatcher, Sid and Nancy, <\/em>and other manifestations of late century \u2018Angloangst\u2019.\u201d[2]<\/a>\u00a0<\/sup> These references are now becoming dated, but they were all highly relevant in 1988. Monty Python, an icon of raw, edgy British humor that was known to the American audience through syndication of the television program Monty Python\u2019s Flying Cirus.\u00a0 <\/em>Mrs. Thatcher, Prime Minister from 1979 until 1990, a thoroughly polarizing and divisive figure whom one either loved or hated, and under whom the divide between rich and poor was growing ever wider, much as it was doing under President Reagan.[3]<\/a>\u00a0<\/sup> Sid and Nancy\u2014<\/em>conveniently the names of two supporting characters in Albert Herring<\/em>\u2014was a recently released motion picture depicting the relationship of punk performer Sid Vicious and his girlfriend Nancy Spungen.[4]<\/a>\u00a0<\/sup> Moreover, notwithstanding the wealth newly enjoyed by the corporate class at the top of the social ladder, Britain in 1988 was not entirely a glorious realm, what with tensions over the nation\u2019s relationship with Europe (Mrs. Thatcher herself was, quite famously, a Eurosceptic, and it would ultimately bring down her government), a population not entirely at peace with the nation\u2019s diminished post-Imperial status in the post-War world (post-World War II, that is), social tensions amidst the fitful adjustment to a multi-racial society, and the grit and grime of life during the economic crisis of the 1970s still a recent memory.\u00a0 An \u201cuntidy National Attic,\u201d as Mr. Pearlman summed up in his Director\u2019s Notes.[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” gap=”5″ equal_height=”yes” content_placement=”top” css=”.vc_custom_1731098145357{background-color: #f4f4f4 !important;}”][vc_column width=”1\/4″ css=”.vc_custom_1731093265269{padding-bottom: 20px !important;background-color: #ffffff !important;}”][vc_single_image image=”21140″ img_size=”medium” add_caption=”yes” alignment=”center” onclick=”link_image” css=”.vc_custom_1731095486010{padding-top: 20px !important;padding-bottom: 20px !important;}”][\/vc_column][vc_column width=”1\/4″ css=”.vc_custom_1730145962523{padding-bottom: 20px !important;background-color: #ffffff !important;}”][vc_single_image image=”21141″ img_size=”medium” add_caption=”yes” alignment=”center” onclick=”link_image” css=”.vc_custom_1731095495948{padding-top: 20px !important;padding-bottom: 20px !important;}”][\/vc_column][vc_column width=”1\/4″ css=”.vc_custom_1731095669846{background-color: #ffffff !important;}”][vc_single_image image=”21142″ img_size=”medium” add_caption=”yes” alignment=”center” onclick=”link_image” css=”.vc_custom_1731095527469{padding-top: 20px !important;padding-bottom: 20px !important;}”][\/vc_column][vc_column width=”1\/4″ css=”.vc_custom_1731095680160{background-color: #ffffff !important;}”][vc_single_image image=”21143″ img_size=”full” add_caption=”yes” alignment=”center” onclick=”link_image” css=”.vc_custom_1731094495710{padding-top: 20px !important;padding-bottom: 20px !important;}”][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” gap=”5″ equal_height=”yes” content_placement=”top” css=”.vc_custom_1731098214381{background-color: #f4f4f4 !important;}”][vc_column width=”1\/4″ css=”.vc_custom_1731093265269{padding-bottom: 20px !important;background-color: #ffffff !important;}”][vc_single_image image=”21144″ img_size=”full” add_caption=”yes” alignment=”center” onclick=”link_image” css=”.vc_custom_1731094562166{padding-top: 20px !important;padding-bottom: 20px !important;}”][\/vc_column][vc_column width=”1\/4″ css=”.vc_custom_1730145962523{padding-bottom: 20px !important;background-color: #ffffff !important;}”][vc_single_image image=”21146″ img_size=”full” add_caption=”yes” alignment=”center” onclick=”link_image” css=”.vc_custom_1731094689971{padding-top: 20px !important;padding-bottom: 20px !important;}”][\/vc_column][vc_column width=”1\/4″ css=”.vc_custom_1731098481222{background-color: #ffffff !important;}”][vc_single_image image=”21145″ img_size=”full” add_caption=”yes” alignment=”center” onclick=”link_image” css=”.vc_custom_1731094606706{padding-top: 20px !important;padding-bottom: 20px !important;}”][\/vc_column][vc_column width=”1\/4″ css=”.vc_custom_1731098490156{background-color: #ffffff !important;}”][vc_single_image image=”21147″ img_size=”full” add_caption=”yes” alignment=”center” onclick=”link_image” css=”.vc_custom_1731094731147{padding-top: 20px !important;padding-bottom: 20px !important;}”][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” css=”.vc_custom_1658327150379{background-color: #f4f4f4 !important;}”][vc_column css=”.vc_custom_1729000374562{padding-bottom: 20px !important;}”][vc_column_text css=”.vc_custom_1731095078781{margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;}”]To set the stage (literally) for the EOT production, Mr. Pearlman engaged the services of Jeffrey McDonald, a set designer based in New York City, who brought to bear a lively concept. Documents in the Richard Pearlman Collection at the Sibley Music Library confirm the depth of research and the trenchant creativity that informed the production.\u00a0 In particular, the plans for costume design and set design all bear out the concept and execution. Designer McDonald was aiming, with insistent deliberation, for a clearing of \u201cthe untidy National Attic\u201d such as Mr. Pearlman would later allude to in his Director\u2019s Notes.\u00a0 In a memo to Mr. Pearlman, Mr. McDonald described the stage as being \u201c. . . packed with assorted English imperialistic paraphernalia & junk (the patrimony, so to speak) . . . the scrim is painted with a great British allegorical painting representing the Empire . . . .\u00a0 Throughout the entire piece the hoard will be gradually removed & carted offstage by workmen until by the end of the opera, nothing is left but a terrazzo floor and the clutter left behind when the orchestra leaves.\u201d\u00a0 Regrettably, no video footage of this production is known to be extant today, and the production photographs are focused so closely on the singers as to reveal not much of the surrounding sets and scrim painting. Nevertheless, that the production proceeded from this way of thinking is itself informing.\u00a0 The printed program hinted at the contemporary setting with its drawings of both Mrs. Thatcher and Nancy in her party guise. \u00a0The photographs displayed here, which capture members of the second cast in a handful of the opera\u2019s main events, confirm the concept\u2019s execution.\u00a0 I should add that an online survey of the careers of these EOT performers confirms how far these performers have travelled professionally. Bravi to them all![\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” gap=”20″ equal_height=”yes” content_placement=”top” css=”.vc_custom_1731093341024{background-color: #f4f4f4 !important;}”][vc_column width=”1\/2″ css=”.vc_custom_1731093265269{padding-bottom: 20px !important;background-color: #ffffff !important;}”][vc_single_image image=”21158″ img_size=”full” add_caption=”yes” alignment=”center” onclick=”link_image” css=”.vc_custom_1731096940083{padding-top: 20px !important;padding-bottom: 20px !important;}”][\/vc_column][vc_column width=”1\/2″ css=”.vc_custom_1730145962523{padding-bottom: 20px !important;background-color: #ffffff !important;}”][vc_single_image image=”21159″ img_size=”full” add_caption=”yes” alignment=”center” onclick=”link_image” css=”.vc_custom_1731096986260{padding-top: 20px !important;padding-bottom: 20px !important;}”][vc_single_image image=”21160″ img_size=”full” add_caption=”yes” alignment=”center” onclick=”link_image” css=”.vc_custom_1731097040861{padding-top: 20px !important;padding-bottom: 20px !important;}”][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” css=”.vc_custom_1658327150379{background-color: #f4f4f4 !important;}”][vc_column css=”.vc_custom_1729000374562{padding-bottom: 20px !important;}”][vc_column_text css=”.vc_custom_1731096809418{margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;}”]The EOT production was covered in the Rochester press, for better or for worse; one feature article and two reviews are displayed here. For reasons entirely their own, the local writers chose to play up what they perceived as the production\u2019s \u201cpunk\u201d aspect, and to an unreasonable and frankly ridiculous degree.\u00a0 Perhaps the Rochester Democrat & Chronicle <\/em>feature article, with its photo of Designer McDonald on the front page, brought in larger audience numbers from the off-campus community.\u00a0 In any event, what happened next followed directly from the local hype.\u00a0 Eastman ran afoul of the licensing body (Boosey & Hawkes, who were Britten\u2019s publisher) when an unnamed source sent at least one of the local reviews to Boosey\u2019s offices in New York City. \u00a0The reaction at Boosey prompted a letter to Eastman School Director Dr. Robert Freeman, succinctly forbidding any further performances of the EOT production:<\/p>\n

\u201cWe are surprised and disappointed that we were not advised in advance of the time frame changes planned for your production.\u00a0 While the reviewer seems most impressed it is doubtful that Mr. Britten would have approved.\u00a0 Certainly the Executors of his Estate do not, nor do we.<\/p>\n

\u201cWe write therefore to advise there should be no further performances of this production.\u201d<\/p>\n

Boosey gave no indication of having investigated the matter other than having read the provided review.\u00a0 In other words, the company\u2019s decision was based on hearsay\u2014on a hyped-up review written by a local writer who had unreasonably emphasized \u201cpunk\u201d\u2014and without seeing fit to give the Eastman School of Music the benefit of the doubt.. Eastman\u2019s reply was substantive.\u00a0 In a letter (December 19, 1988) to Boosey, Dr. Freeman set the record straight with respect to the intentions behind the EOT production.\u00a0 Having both seen and admired the EOT production \u201cboth as Eastman director and as an operatic historian,\u201d he faulted Boosey for apparently having jumped to a conclusion (\u201c. . .without further investigation, you appear to have accepted as gospel the headline of a local review\u201d).\u00a0 He elaborated:<\/p>\n

\u201cOf the thirteen characters in the piece, only two are in fact presented in a manner which anyone could possibly describe as \u2018punk.\u2019\u00a0 In Richard Pearlman\u2019s interpretation of the opera in contemporary England, what he did with the work was infinitely less radical than what Mr. Crozier, the librettist, did in adapting the original Maupassant story.<\/p>\n

\u201cThe real issue here is the same as with the performance of any work: was the intent and execution a frivolous exploitation of the material or was it a serious attempt to serve the composer at the work\u2019s deepest level?\u00a0 You apparently assume the former to be true.\u00a0 The production was, to the contrary, a tribute to Benjamin Britten\u2019s life-long commitment to the issues of individual freedom and social justice, and how they are inextricably linked.\u00a0 The point is that the ideals Mr Britten spent his life extolling are alive and well in contemporary England, though they still need defending against the same dragons.\u00a0 Indeed, it seems to me that your letter is in itself an embodiment of the neophobia made sport of in the work itself.<\/p>\n

\u201cHow well Mr. Britten\u2019s intentions were carried out is not, of course, for us to say.\u00a0 However, it is relevant in this content that Richard Pearlman has directed the works of such contemporary composers as Samuel Barber, Lee Hoiby, Iain Hamilton, and George Rochberg to their great satisfaction.\u00a0 A year ago, Leopold Godowsky III, as the representative of the Gershwin estate, was thrilled with what Richard Pearlman accomplished with the Gershwin material that lay at the basis of our production of Reaching for the Moon.\u201d<\/em>[5]<\/a><\/sup><\/p>\n

Dr. Freeman enclosed three items in support of his letter: a copy of Mr. Pearlman\u2019s Director\u2019s Notes for the EOT production; a copy of a New York Times <\/em>review of a production of Britten\u2019s Turn of the Screw <\/em>that Mr. Pearlman had directed;[6]<\/a> <\/sup>and a copy of an article by Pulitzer Prize-winning music critic Martin Bernheimer that praised Mr. Pearlman\u2019s work.\u00a0 He closed his letter cordially with his hope that the communication would continue.\u00a0 Happily, Eastman\u2019s working relationship with Boosey was not irreparably ruptured by this matter, for since that time, Eastman Opera Theater has been granted license to produce Albert Herring <\/em>twice more (in 1998 and 2014).<\/p>\n

Both casts of the 1988 production were recorded on tape and can be enjoyed via the Eastman Audio Archive. The Richard Pearlman Collection offers substantive documentation of this production, including numerous photographs; indeed, this is the most substantively documented of any of the six Eastman productions of Albert Herring. <\/em>This marked one more noteworthy production in the Eastman School\u2019s rich operatic history of Eastman Opera Theater, which under directors Leonard Treash and Richard Pearlman had firmly established itself as a vehicle for high-level performance and artistry.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” css=”.vc_custom_1658327150379{background-color: #f4f4f4 !important;}”][vc_column css=”.vc_custom_1729000374562{padding-bottom: 20px !important;}”][vc_separator color=”black” css=””][vc_column_text css=”.vc_custom_1731097095588{margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;}”][1]<\/a> \u00a0To date, there have been six Eastman productions altogether:\u00a0 March, 1966 (Leonard Treash, director; L\u00e1szl\u00f3 Hal\u00e1sz, conductor); February-March, 1975 (Leonard Treash, director; Robert Spillman, conductor); March, 1979 (Edward Berkeley, director; Robert Spillman, conductor); November, 1988 (Richard Pearlman, director; David Effron, conductor); November, 1998 (Steven Daigle, director; John Greer, conductor); and, November, 2014 (Stephen Carr, director; Benton Hess, conductor).\u00a0 All six productions have been in Kilbourn Hall.<\/span><\/p>\n

[2]<\/a>\u00a0 This word was not coined by Mr. Pearlman. I haven\u2019t gone back into 1980s literature to discern its usage, but I\u2019d note here that it has been used in recent years in Eastern Canada to describe the viewpoint felt by some among the Anglophone population of Qu\u00e9bec.<\/span><\/p>\n

[3]<\/a>\u00a0 Indeed, Mrs. Thatcher and Mr. Reagan had become fast friends after Mr. Reagan took office, and their friendship lent an added wrinkle to the UK\/USA \u201cspecial relationship\u201d in those years.\u00a0 The special relationship has waxed and\u00a0 waned depending on who\u2019s in office at any given time, but it was alive and well in the \u201880s.<\/span><\/p>\n

[4]<\/a> Left out of this late 1980s mix was the specter of AIDS, which for Mr. Pearlman as a gay man would no doubt have been a huge concern, but the case could be made that HIV might not yet have touched any lives in a small, rural backwater like Loxford.<\/span><\/p>\n

[5]<\/a>\u00a0 The 1987 production of Reaching for the Moon <\/em>was promoted as the world premiere of a \u201cnew Gershwin musical\u201d in that it presented for the first time in a staged production original material that George and Ira Gershwin had shelved.<\/span><\/p>\n

[6]<\/a> Significantly, Dr. Freeman commented that Mr. Pearlman himself had judged that production as \u201cconsiderably more unorthodox than Eastman\u2019s production of Albert Herring,<\/em> and was judged by many to be one of the most successful presentations of this work ever done in the United States.\u201d<\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” css=”.vc_custom_1658327150379{background-color: #f4f4f4 !important;}”][vc_column css=”.vc_custom_1726852979961{padding-top: 20px !important;padding-bottom: 20px !important;}”][vc_empty_space]\n\n\n<\/svg>[\/vc_column][\/vc_row][vc_row css=”.vc_custom_1631195300893{margin-top: 40px !important;}”][vc_column][vc_basic_grid post_type=”post” max_items=”4″ element_width=”3″ grid_id=”vc_gid:1731101010034-7ae768ab-d4ad-8″ taxonomies=”18″][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

On November 4-6, 1988, Eastman Opera Theater staged Benjamin Britten\u2019s Albert Herring in Kilbourn Hall, marking the fourth Eastman production of that opera..<\/p>\n","protected":false},"author":276,"featured_media":21144,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"single-no-separators","format":"standard","meta":{"_acf_changed":false,"footnotes":"","_links_to":"","_links_to_target":""},"categories":[18],"tags":[21],"coauthors":[3],"class_list":["post-21121","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-this-week-at-eastman","tag-november"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/posts\/21121","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/users\/276"}],"replies":[{"embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/comments?post=21121"}],"version-history":[{"count":0,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/posts\/21121\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/media\/21144"}],"wp:attachment":[{"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/media?parent=21121"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/categories?post=21121"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/tags?post=21121"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/coauthors?post=21121"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}