{"id":1594,"date":"2019-05-08T16:07:38","date_gmt":"2019-05-08T14:07:38","guid":{"rendered":"http:\/\/www.fiativallecamonica.net\/?p=1594"},"modified":"2019-06-13T09:55:34","modified_gmt":"2019-06-13T07:55:34","slug":"carmina-burana-chiudono-il-wind-festival-2019","status":"publish","type":"post","link":"http:\/\/www.fiativallecamonica.net\/index.php\/2019\/05\/08\/carmina-burana-chiudono-il-wind-festival-2019\/","title":{"rendered":"CARMINA BURANA"},"content":{"rendered":"

\"Carmina_Burana2\"<\/a>\u201cI CARMINA BURANA aprono la serie completa delle mie opere\u201d. Con queste parole, Carl Orff afferma che in questo lavoro sentiva di aver trovato il suo distintivo linguaggio musicale, e definiva quest\u2019opera come punto di partenza di tutta la musica che portava indiscutibilmente la sua impronta; questa definizione venne data dall\u2019autore alla prima esecuzione dei <\/span>Carmina<\/i> a Francoforte,\u00a0 nel 1937. Orff aveva allora 42 anni: sviluppo ed espansione tardiva di un artista che ha avuto molte deviazioni stilistiche tra romanticismo ed impressionismo, oltre allo studio imitativo delle tecniche opere pre-barocche di Monteverdi.
\n<\/span>\u201cCARMINA BURANA\u201d significa \u201cCanti dell\u2019abbazia di Benediktenbeuren<\/i>\u201d. Dentro la biblioteca di questo antico monastero dell\u2019alta-Baviera, \u00e8 stato trovato, durante la secolarizzazione del 1803, un rotolo contenente circa 200 poemi in versi e canzoni del medioevo: canzoni scritte sia da monaci che dai dai \u201cclerici vagantes\u201d (una sorta di studenti-viaggiatori che erravano da un monastero all\u2019altro) in un linguaggio misto tra Latino, Tedesco volgare e Francese arcaico.<\/p>\n

\"Carmina<\/a>
\nCarl Orff, discendente a Monaco di Baviera di una vecchia famiglia di studiosi e ufficiali dell\u2019esercito, ha musicato una selezione di alcuni di queste poesie creando un \u201chappening\u201d per orchestra, coro, voci soliste e balletto, ordinando la sequenza dei \u201ccanti\u201d in forma drammatica, e sottotitonado l\u2019opera come \u201c<\/span>Cantiones Profan\u00e6 cantoribus et choris candand\u00e6 comitantibus instrumentis atque imaginibus magicis\u201d <\/i>(canti profani per soli e coro, accompagnati da strumenti e da immagini magiche). La scena \u00e8 quindi quella tipica del teatro musicale di Orff: un luogo di magia, azione rituale e simbolismo.<\/span><\/p>\n

Un simbolo antico racchiude questa cantata scenica: la rappresentazione della ruota della fortuna in perpetua rotazione, che porta alternativamente fortuna e sfortuna. \u00c8 una parabola della vita umana esposta a costanti cambiamenti. L\u2019invocazione corale alla Dea Fortuna (\u201cO Fortuna Velut Luna\u201d)<\/i> si trova infatti all\u2019inizio e alla fine dell\u2019opera. Lo \u201csviluppo ieratico\u201d di questa azione il cui regista non \u00e8 altri che il Fato stesso, si divide in tre parti: incontro dell\u2019uomo con la natura, e in particolare con la \u201crinascita\u201d in primavera (\u201cPrimo Vere\u201d<\/i>); incontro dell\u2019uomo con i doni della natura, dove il vino occupa un posto preponderante (\u201cin taberna\u201d<\/i>); incontro con l\u2019amore, riflesso in un \u201cCour d\u2019amours\u201d secondo l\u2019antica tradizione francese, tradizione cavalleresca di obbedienza alla donna e all\u2019amore (\u201cMinne\u201d in tedesco arcaico.)\"Carmina<\/a><\/p>\n

Il richiamo della natura \u2013 soggetto del primo frammento \u2013 ci porta nei verdi campi dove le ragazze danzano e la gente canta in tedesco antico. Dopo scene di festa e di grandi bevute, monaci disinibiti, davanti ad un bel cigno arrostito, vantano la vita della taverna (\u201cin taberna quando sumus\u201d<\/i>), del vino e – infine – la foga impetuosa della giovinezza.
\nIl ventaglio espressivo dei Carmina Burana si estende dalla poesia delicata e dalla grazia dei \u201cCors d\u2019amours\u201d della Borgogna, fino alla gioviale brutalit\u00e0 di una taverna Bavarese (<\/span>\u201cin taberna\u201d<\/i>), alla vitalit\u00e0 debordante (nel solo del baritono \u201c<\/span>Estuans interius\u201d<\/i>), alla pressione devastatrice del coro del destino, che contiene ed avviluppa tutto.<\/span><\/p>\n

Programma<\/big><\/big><\/i><\/strong><\/p>\n

Carmina Burana<\/big><\/i><\/strong> \u2013
\nSoprano, Tenore, Baritono, Coro, Coro di voci bianche, Orchestra di Fiati.<\/p>\n

\u00a0Fortuna Imperatrix Mundi<\/strong>
\n–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 O Fortuna\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Coro e orchestra
\n–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Fortune Plango Vulnera\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Coro e orchestra<\/p>\n

I. Primo Vere<\/strong>
\n–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Veris Leta Facies\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Coro e orchestra
\n–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Omnia Sol Temperat\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Baritono e orchestra
\n–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Ecce Gratum\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Coro e orchestra
\nUf dem Anger<\/strong>
\n–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Tanz\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Orchestra
\n–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Floret Silva Nobilis\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Soli, coro e orchestra
\n–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Chramer, gip die varwe mir\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Coro e orchestra
\n–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Reie \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Soli, coro e orchestra
\nswaz hie gat umbe
\nChume, chum, geselle min
\n–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Were diu werlt alle min\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Coro voci bianche, soli e orch.<\/p>\n

II. In Taberna<\/strong>
\n–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Estuans Interius\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Baritono e orchestra
\n–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Olim Lacus Colueram\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Tenore e orchestra
\n–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Ego Sum Abbas\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Baritono e orchestra
\n–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 In taberna quando sumus\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Coro e orchestra<\/p>\n

III. Cour d\u2019amours<\/strong>
\n–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Amor volat undique\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Coro voci bianche e orchestra
\n–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Dies, nox et omnia\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Soli, coro e orchestra
\n–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Stetit puella\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Soprano e orchestra
\n–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Circa mea pectora\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Baritono, coro e orchestra
\n–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Si puer cum pullula\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Coro
\n–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Veni, veni, venias\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Coro e orchestra
\n–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 In trutina\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Soprano e orchestra
\n–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Tempus est iocundum\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Soli, coro e orchestra
\n<\/span>–\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Dulcissime\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Soprano<\/p>\n

Branziflor et Helena<\/strong>
\n–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Ave formosissima\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Coro e orchestra<\/p>\n

Fortuna Imperatrix Mundi<\/strong>
\n–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 O fortuna\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Coro e orchestra<\/p>\n","protected":false},"excerpt":{"rendered":"

\u201cI CARMINA BURANA aprono la serie completa delle mie opere\u201d. Con queste parole, Carl Orff afferma che in questo lavoro sentiva di aver trovato il suo distintivo linguaggio musicale, e definiva quest\u2019opera come punto di partenza di tutta la musica che portava indiscutibilmente la sua impronta; questa definizione venne data dall\u2019autore alla prima esecuzione dei […]<\/p>\n","protected":false},"author":1,"featured_media":1637,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[7],"tags":[],"_links":{"self":[{"href":"http:\/\/www.fiativallecamonica.net\/index.php\/wp-json\/wp\/v2\/posts\/1594"}],"collection":[{"href":"http:\/\/www.fiativallecamonica.net\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.fiativallecamonica.net\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.fiativallecamonica.net\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.fiativallecamonica.net\/index.php\/wp-json\/wp\/v2\/comments?post=1594"}],"version-history":[{"count":11,"href":"http:\/\/www.fiativallecamonica.net\/index.php\/wp-json\/wp\/v2\/posts\/1594\/revisions"}],"predecessor-version":[{"id":1643,"href":"http:\/\/www.fiativallecamonica.net\/index.php\/wp-json\/wp\/v2\/posts\/1594\/revisions\/1643"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/www.fiativallecamonica.net\/index.php\/wp-json\/wp\/v2\/media\/1637"}],"wp:attachment":[{"href":"http:\/\/www.fiativallecamonica.net\/index.php\/wp-json\/wp\/v2\/media?parent=1594"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.fiativallecamonica.net\/index.php\/wp-json\/wp\/v2\/categories?post=1594"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.fiativallecamonica.net\/index.php\/wp-json\/wp\/v2\/tags?post=1594"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}