{"title":"Carl Morten Iversen","description":"","products":[{"product_id":"mozart-le-nozze-di-figaro-matthews-priante-256556","title":"Mozart: Le Nozze Di Figaro \/ Matthews, Priante, Murray, Ticciati, Glyndebourne","description":"\u003ca class=\"links\" href=\"album.jsp?album_id=975074\"\u003e\u003cb\u003eAlso available on Blu-ray\u003c\/b\u003e\u003c\/a\u003e\u003cbr\u003e  \u003cbr\u003e  Perhaps no opera is closely and affectionately associated with a single house as Le nozze di Figaro is with Glyndebourne. Effortlessly witty yet shot through with pain and sadness, this deeply ambivalent life in the day of masters and servants as they scheme and outwit one another was Glyndebourne’s opening production in 1934. Michael Grandage’s staging is the seventh, set in a louche Sixties ambience. Marshalled by the ‘ideal pacing’ of Robin Ticciati, a youthful cast of principals has ‘no weak link’ and ‘looks gorgeous’ (The Sunday Times) in a production that continues Glyndebourne’s rewarding history of engagement with Mozart’s and da Ponte’s ‘day of madness’.\u003cbr\u003e  \u003cbr\u003e  Wolfgang Amadeus Mozart\u003cbr\u003e  LE NOZZE DI FIGARO\u003cbr\u003e  \u003cbr\u003e  Countess Almaviva – Sally Matthews\u003cbr\u003e  Figaro – Vito Priante\u003cbr\u003e  Count Almaviva – Audun Iversen\u003cbr\u003e  Susanna – Lydia Teuscher\u003cbr\u003e  Cherubino – Isabel Leonard\u003cbr\u003e  Bartolo – Andrew Shore\u003cbr\u003e  Marcellina – Ann Murray\u003cbr\u003e  Don Basilio – Alan Oke\u003cbr\u003e  Antonio – Nicholas Folwell\u003cbr\u003e  Don Curzio – Colin Judson\u003cbr\u003e  Barbarina – Sarah Shafer\u003cbr\u003e  First Bridesmaid – Ellie Laugharne\u003cbr\u003e  Second Bridesmaid – Katie Bray \u003cbr\u003e  \u003cbr\u003e  Glyndebourne Chorus\u003cbr\u003e  Orchestra of the Age of Enlightenment\u003cbr\u003e  Robin Ticciati, conductor \u003cbr\u003e  \u003cbr\u003e  Michael Grandage, stage director \u003cbr\u003e  \u003cbr\u003e  Recorded live at Glyndebourne Festival, June 2012 \u003cbr\u003e  \u003cbr\u003e  Bonus:\u003cbr\u003e  - The Greatest Opera Ever Written\u003cbr\u003e  - From page to stage \u003cbr\u003e  \u003cbr\u003e  Picture format: NTSC 16:9\u003cbr\u003e  Sound format: LPCM 2.0 \/ DTS 5.1\u003cbr\u003e  Region code: 0 (worldwide)\u003cbr\u003e  Subtitles: English, French, German, Japanese, Korean\u003cbr\u003e  Running time: 180 mins\u003cbr\u003e  No. of DVDs: 2\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003eFULL REVIEW \u003cbr\u003eDespite some qualification, Glyndebourne’s new Figaro (summer 2012) is a delight. The curtain opens during the overture on the outside of a Spanish mansion—just what we might expect from an opera set on the outskirts of Seville—with shiny tiles, Moorish arches, and handsome latticework, and townsfolk bustling back and forth. It’s startling to see a circa late-1960s red sports car pull up and have the Almavivas get out: they’re coming home from somewhere or settling into their summer getaway. The Count is the very picture of not-such-great-taste, sporting a page-boy haircut and costumed in a velvet suit with bell-bottomed pants and a wide-lapelled, multi-colored shirt. He obviously is quite a swinging dude, and director Michael Grandage and his wonderful designer Christopher Oram have placed the opera in the decade of the flower children. Will this work? \u003cbr\u003eWe meet Figaro and Susanna, dressed more moderately (she would appear to be pregnant in a black outfit with white collar, but it’s never mentioned) and nicely familiar. She is spunky and he seems like a nice guy, and he certainly doesn’t like the fact that his boss wants to sleep with his fiancée, although she seems able to take care of herself. And why should Figaro like it? This is the 1960s or ’70s, and despite the fact that Franco is still in power, the Count’s request is not a feudal right; it’s nothing but bullying. And so Beaumarchais’ and da Ponte’s satire on class war no longer exists, and that tends to be the crux of the opera in its original setting. \u003cbr\u003eInstead, we get the never-ending battle of the sexes, a look at an unhappy marriage, and a rather nasty, wealthy guy with a sense of entitlement along with a pretty good comedy peopled by what seem like real people. During “Non piu andrai”, which Figaro sings while the Count is present, the two men hang out like chums, Figaro leaning with an arm on the Count’s shoulder. Susanna never curtsies and she seems genuinely concerned with cheering up the Countess. If you’re willing to forego the pre-Revolutionary subtext, you’ll have a fine time, especially watching the cast do the twist at the wedding and during the finale. The absolutely natural stage action eschews slapstick and vulgarity and the singers seem more than happy to adapt. Vito Priante’s Figaro, shorn of class anger, is a bit mild, but his stage presence and singing are extraordinary. Rhythmically precise throughout, he eats up “Aprite un po’…” in the last act and is superb in ensembles. Lydia Teuscher’s Susanna is a rich-voiced, non-soubrette, observant Countess-in-the-making; and of course, within this context she might some day have the same social standing. Sally Matthews, if she had a trill for the end of “Dov’e sono”, would be a perfect Countess: her predicament is very clear, and you sense that she wishes she were more lighthearted, more able to adjust to the swinging attitudes going on around her. The voice itself is a gorgeous, full lyric. Audun Iversen’s Count is a sloppy, privileged tyrant, all the more frustrated because no one will pay any attention to his nastiness. His singing is the least neat of all, but he’s a powerful presence. Isabel Leonard’s Cherubino is perfect—boyish and sassy and nimble. \u003cbr\u003eClass acts Ann Murray and Andrew Shore, both a bit vocally worn, are nonetheless a terrific Marzellina and Bartolo, and Alan Oke’s Basilio is snidely right-on. (Neither he nor Marzellina get their last-act arias.) Sarah Shafer is a fine Barbarina, looking to be about 14 years old. And as mentioned, Oram’s luxurious sets add to the special feel of the production. I’m somewhat stumped by Robin Ticciati’s conducting of the Orchestra of the Age of Enlightenment. The instruments are period but the approach is mid-20th century—not slow or heavy, really, but somehow lacking the zip we expect these days. The finale of Act 2 is wonderfully clear but lacks the “accidental” mania it should have. There are plenty of laughs from the Glyndebourne audience, but the whole affair is not the insane day Mozart envisioned. The preferred DVD versions are Pappano’s from Covent Garden (Opus Arte) and Jacobs’ (on BelAir); nonetheless, this new one is fresh and charming and a good bet. \u003cbr\u003e-- Robert Levine, ClassicsToday.com","brand":"Opus Arte","offers":[{"title":"DVD","offer_id":46013316006122,"sku":"809478011026","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2248448.jpg?v=1778305522"},{"product_id":"edvard-grieg-kor-sings-grieg-52830","title":"The Edvard Grieg Choir Sings Grieg","description":"\u003cp\u003eThe Norwegian vocal ensemble Edvard Grieg Kor is the resident a cappella ensemble at Troldhaugen, the home of Edvard Grieg. Displaying versatility across all musical genres, they perform regularly with Bergen Philharmonic Orchestra and also form the core of the Chorus for Bergen National Opera. They have had numerous works and arrangements written specially for them by leading composers including Jonathan Rathbone, and David Lang, both of whom are represented here on this the choir’s debut recording. Greig’s Fire Salmer, (Four Psalms) after Norwegian folk tunes (his final opus) and his shorter Ave Maris Stella (performed here in an a cappella arrangement made by the composer) are two rare examples of religion in Greig’s output. Works by fellow Norwegian composers Ole Bull and Agathe Backer Grøndahl, and a sensational and virtuosic arrangement of Greig’s Holberg Suite complete the programme.\u003c\/p\u003e","brand":"Chandos","offers":[{"title":"SACD","offer_id":46013375873258,"sku":"095115523223","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3912041.jpg?v=1778279843"},{"product_id":"mozart-le-nozze-di-figaro-ticciati-glyndebourne-109779","title":"Mozart: Le Nozze Di Figaro \/ Ticciati, Glyndebourne Festival [blu-ray]","description":"\u003cb\u003eThis Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e   \u003ca class=\"links\" href=\"album.jsp?album_id=975071\"\u003e\u003cb\u003eAlso available on standard DVD\u003c\/b\u003e\u003c\/a\u003e\u003cbr\u003e  \u003cbr\u003e  Perhaps no opera is closely and affectionately associated with a single house as Le nozze di Figaro is with Glyndebourne. Effortlessly witty yet shot through with pain and sadness, this deeply ambivalent life in the day of masters and servants as they scheme and outwit one another was Glyndebourne’s opening production in 1934. Michael Grandage’s staging is the seventh, set in a louche Sixties ambience. Marshalled by the ‘ideal pacing’ of Robin Ticciati, a youthful cast of principals has ‘no weak link’ and ‘looks gorgeous’ (The Sunday Times) in a production that continues Glyndebourne’s rewarding history of engagement with Mozart’s and da Ponte’s ‘day of madness’. \u003cbr\u003e  \u003cbr\u003e  Wolfgang Amadeus Mozart\u003cbr\u003e  LE NOZZE DI FIGARO\u003cbr\u003e  \u003cbr\u003e  (Blu-ray Disc Version)\u003cbr\u003e  Countess Almaviva – Sally Matthews\u003cbr\u003e  Figaro – Vito Priante\u003cbr\u003e  Count Almaviva – Audun Iversen\u003cbr\u003e  Susanna – Lydia Teuscher\u003cbr\u003e  Cherubino – Isabel Leonard\u003cbr\u003e  Bartolo – Andrew Shore\u003cbr\u003e  Marcellina – Ann Murray\u003cbr\u003e  Don Basilio – Alan Oke\u003cbr\u003e  Antonio – Nicholas Folwell\u003cbr\u003e  Don Curzio – Colin Judson\u003cbr\u003e  Barbarina – Sarah Shafer\u003cbr\u003e  First Bridesmaid – Ellie Laugharne\u003cbr\u003e  Second Bridesmaid – Katie Bray \u003cbr\u003e  \u003cbr\u003e  Glyndebourne Chorus\u003cbr\u003e  Orchestra of the Age of Enlightenment\u003cbr\u003e  Robin Ticciati, conductor \u003cbr\u003e  \u003cbr\u003e  Michael Grandage, stage director \u003cbr\u003e  \u003cbr\u003e  Recorded live at Glyndebourne Festival, June 2012 \u003cbr\u003e  \u003cbr\u003e  Bonus:\u003cbr\u003e  - The Greatest Opera Ever Written\u003cbr\u003e  - From page to stage \u003cbr\u003e  \u003cbr\u003e  Picture format: 1080i High Definition\u003cbr\u003e  Sound format: LPCM 2.0 \/ DTS 5.1\u003cbr\u003e  Region code: 0 (worldwide)\u003cbr\u003e  Subtitles: English, French, German, Japanese, Korean\u003cbr\u003e  Running time: 180 mins\u003cbr\u003e  No. of Discs: 1\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  REVIEWS\u003cbr\u003e  \u003cbr\u003e  Despite some qualification, Glyndebourne’s new Figaro (summer 2012) is a delight. The curtain opens during the overture on the outside of a Spanish mansion—just what we might expect from an opera set on the outskirts of Seville—with shiny tiles, Moorish arches, and handsome latticework, and townsfolk bustling back and forth. It’s startling to see a circa late-1960s red sports car pull up and have the Almavivas get out: they’re coming home from somewhere or settling into their summer getaway. The Count is the very picture of not-such-great-taste, sporting a page-boy haircut and costumed in a velvet suit with bell-bottomed pants and a wide-lapelled, multi-colored shirt. He obviously is quite a swinging dude, and director Michael Grandage and his wonderful designer Christopher Oram have placed the opera in the decade of the flower children. Will this work?\u003cbr\u003e  \u003cbr\u003e  We meet Figaro and Susanna, dressed more moderately (she would appear to be pregnant in a black outfit with white collar, but it’s never mentioned) and nicely familiar. She is spunky and he seems like a nice guy, and he certainly doesn’t like the fact that his boss wants to sleep with his fiancée, although she seems able to take care of herself. And why should Figaro like it? This is the 1960s or ’70s, and despite the fact that Franco is still in power, the Count’s request is not a feudal right; it’s nothing but bullying. And so Beaumarchais’ and da Ponte’s satire on class war no longer exists, and that tends to be the crux of the opera in its original setting.\u003cbr\u003e  \u003cbr\u003e  Instead, we get the never-ending battle of the sexes, a look at an unhappy marriage, and a rather nasty, wealthy guy with a sense of entitlement along with a pretty good comedy peopled by what seem like real people. During “Non piu andrai”, which Figaro sings while the Count is present, the two men hang out like chums, Figaro leaning with an arm on the Count’s shoulder. Susanna never curtsies and she seems genuinely concerned with cheering up the Countess. If you’re willing to forego the pre-Revolutionary subtext, you’ll have a fine time, especially watching the cast do the twist at the wedding and during the finale. The absolutely natural stage action eschews slapstick and vulgarity and the singers seem more than happy to adapt. Vito Priante’s Figaro, shorn of class anger, is a bit mild, but his stage presence and singing are extraordinary. Rhythmically precise throughout, he eats up “Aprite un po’…” in the last act and is superb in ensembles. Lydia Teuscher’s Susanna is a rich-voiced, non-soubrette, observant Countess-in-the-making; and of course, within this context she might some day have the same social standing. Sally Matthews, if she had a trill for the end of “Dov’e sono”, would be a perfect Countess: her predicament is very clear, and you sense that she wishes she were more lighthearted, more able to adjust to the swinging attitudes going on around her. The voice itself is a gorgeous, full lyric. Audun Iversen’s Count is a sloppy, privileged tyrant, all the more frustrated because no one will pay any attention to his nastiness. His singing is the least neat of all, but he’s a powerful presence. Isabel Leonard’s Cherubino is perfect—boyish and sassy and nimble.\u003cbr\u003e  \u003cbr\u003e  Class acts Ann Murray and Andrew Shore, both a bit vocally worn, are nonetheless a terrific Marzellina and Bartolo, and Alan Oke’s Basilio is snidely right-on. (Neither he nor Marzellina get their last-act arias.) Sarah Shafer is a fine Barbarina, looking to be about 14 years old. And as mentioned, Oram’s luxurious sets add to the special feel of the production. I’m somewhat stumped by Robin Ticciati’s conducting of the Orchestra of the Age of Enlightenment. The instruments are period but the approach is mid-20th century—not slow or heavy, really, but somehow lacking the zip we expect these days. The finale of Act 2 is wonderfully clear but lacks the “accidental” mania it should have. There are plenty of laughs from the Glyndebourne audience, but the whole affair is not the insane day Mozart envisioned. The preferred DVD versions are Pappano’s from Covent Garden (Opus Arte) and Jacobs’ (on BelAir); nonetheless, this new one is fresh and charming and a good bet.\u003cbr\u003e  \u003cbr\u003e  -- Robert Levine, ClassicsToday.com\u003cbr\u003e \u003cbr\u003e --------    \u003ctitle\u003e3722890.az_MOZART_Le_Figaro.html\u003c\/title\u003e  \u003cmeta http-equiv=\"Content-Type\" content=\"text\/html; charset=utf-8\"\u003e   \u003cbr\u003e  \u003cbr\u003e\u003cspan class=\"COMPOSER12\"\u003eMOZART \u003c\/span\u003e\u003cspan class=\"ARIAL12b\"\u003eLe nozze di Figaro \u003c\/span\u003e\u003cspan class=\"EXTRAS12\"\u003e\u0026amp; \u003c\/span\u003e\u003cspan class=\"BULLET12\"\u003e • \u003c\/span\u003e\u003cspan class=\"ARIAL12\"\u003e Robin Ticciati, cond; Vito Priante (\u003c\/span\u003e\u003cspan class=\"ARIAL12i\"\u003eFigaro\u003c\/span\u003e\u003cspan class=\"ARIAL12\"\u003e); Lydia Teuscher (\u003c\/span\u003e\u003cspan class=\"ARIAL12i\"\u003eSusanna\u003c\/span\u003e\u003cspan class=\"ARIAL12\"\u003e); Audun Iversen (\u003c\/span\u003e\u003cspan class=\"ARIAL12i\"\u003eAlmaviva\u003c\/span\u003e\u003cspan class=\"ARIAL12\"\u003e); Sally Matthews (\u003c\/span\u003e\u003cspan class=\"ARIAL12i\"\u003eCountess\u003c\/span\u003e\u003cspan class=\"ARIAL12\"\u003e); Isabel Leonard (\u003c\/span\u003e\u003cspan class=\"ARIAL12i\"\u003eCherubino\u003c\/span\u003e\u003cspan class=\"ARIAL12\"\u003e); Ann Murray (\u003c\/span\u003e\u003cspan class=\"ARIAL12i\"\u003eMarcellina\u003c\/span\u003e\u003cspan class=\"ARIAL12\"\u003e); Andrew Shore (\u003c\/span\u003e\u003cspan class=\"ARIAL12i\"\u003eBartolo\u003c\/span\u003e\u003cspan class=\"ARIAL12\"\u003e); Sarah Shafer (\u003c\/span\u003e\u003cspan class=\"ARIAL12i\"\u003eBarbarina\u003c\/span\u003e\u003cspan class=\"ARIAL12\"\u003e); Alan Oke (\u003c\/span\u003e\u003cspan class=\"ARIAL12i\"\u003eDon Basilio\u003c\/span\u003e\u003cspan class=\"ARIAL12\"\u003e); O of the Age of Enlightenment; Glyndebourne Ch \u003c\/span\u003e\u003cspan class=\"BULLET12\"\u003e • \u003c\/span\u003e\u003cspan class=\"ARIAL12\"\u003e OPUS ARTE 7118 (Blu-ray: 154:00+14:00) Live: Glyndebourne 2012 \u003c\/span\u003e \u003cbr\u003e  \u003cbr\u003e\u003cspan class=\"EXTRAS12\"\u003e\u0026amp; \u003c\/span\u003e\u003cspan class=\"ARIAL12i\"\u003eLe Nozze di Figaro\u003c\/span\u003e\u003cspan class=\"ARIAL12\"\u003e: The Greatest Opera Ever Written? \u003c\/span\u003e\u003cspan class=\"ARIAL12i\"\u003eLe Nozze di Figaro\u003c\/span\u003e\u003cspan class=\"ARIAL12\"\u003e: From Page to Stage \u003c\/span\u003e \u003cbr\u003e  \u003cbr\u003e\u003cspan\u003eWhat do we have here? A \u003c\/span\u003e\u003cspan style=\"font-style:italic\"\u003eMarriage of Figaro\u003c\/span\u003e\u003cspan\u003e where the noble couple arrive home in a snazzy Austin-Healey convertible; where the Susanna sports a 1950s-style maternity top and an obvious baby bump in her wedding dress; where the Count wears a velour-trousered leisure suit with bell bottoms, and shares a hand-rolled joint with his maid while trying to grope her; where the peasants at the festivities (along with the Count) dance the Twist and the Frug; where several of the characters look like they were outfitted on London’s Carnaby Street in the 1960s. We get all of that, along with some lavish Moorish-style sets and a historically informed pit band, in this 2012 Blu-ray video from the Glyndebourne Festival. Helped along by some excellent singing, it all proves quite satisfactory and highly entertaining. \u003c\/span\u003e \u003cbr\u003e  \u003cbr\u003e\u003cspan\u003eI’m not sure a pregnant Susanna makes much more sense than a pregnant Juliet; after all, the Count is supposed to be trying to amorously seduce her, and is asked to attest to her virginal status prior to the wedding. But when a pregnant lead soprano turns up for work, I suppose the show must go on. The soprano in question, young German lyric Lydia Teuscher, does, in truth, look quite attractive and well worth seducing even in maternity garb, and the fine singing she brings to Susanna more than compensates for the slight loss in verity to Da Ponte’s libretto. In fact, all of the singing is quite excellent, down to the luxury casting of noted mezzo-soprano Ann Murray in the role of Marcellina. (Unfortunately, her act IV aria, along with Don Basilio’s, is cut.) Young Italian bass-baritone Vito Priante brings a rich and accurate instrument to Mozart’s title character, and his rather hyperkinetic acting has been toned down a bit by director Michael Grandage to more properly fit the production concept (and the close-up cameras). Aside from Murray, the best-known singer in the cast is probably British soprano Sally Matthews, who here is a quite lovely and enjoyable Countess and provides finely sung versions of “Porgi amor” and “Dove sono.” She also combines beautifully with Teuscher to sing a consummate “Sull’ aria,” one of my favorite duets in all opera. The Count with his 60s-style Mod haircut, mustache, and hippie style clothes, comes off as a bit ridiculous, robbing the character of any real menace, but baritone Audun Iversen also has a fine, rich voice, and brings a rather comedic swagger to the part. He also brings much avid physical contact to his enthusiastic pursuit of Susanna. (One might wonder why in the Act IV Garden Scene he fails to notice the lady he is embracing is minus the belly). Isabel Leonard continues her rapid climb to the top ranks with this lively and endearing portrayal of boy Cherubino; some say she steals the show here. Oh, and she can really sing, a joy to listen to. As usual for Glyndebourne, the smaller roles are finely cast as well. The Orchestra of the Age of Enlightenment provides a properly light touch in Mozart’s score, just as this wonderful little light comedy demands. \u003c\/span\u003e \u003cbr\u003e  \u003cbr\u003e\u003cspan\u003eThere are over 20 versions of this opera out on video, several fine ones among them. In Blu-ray format the field is much smaller. Perhaps the Covent Garden production from 2006 with Erwin Schrott in the title role is the equal to this one, I haven’t seen it, but it has gotten good reviews. As with nearly all Glyndebourne productions I have seen, they provide full value here with elegant sets, fine singers, and a well-rehearsed cast in a charming staging. \u003c\/span\u003e\u003cspan style=\"font-style:italic\"\u003eLe Nozze\u003c\/span\u003e\u003cspan\u003e is a bit of a special opera for the Festival, as it inaugurated the series back in 1934 with a cast including the owner’s wife, Audrey Mildmay. The Glyndebourne forces have done the opera full justice in this new production, and this entertaining Blu-ray set deserves to be highly recommended. \u003c\/span\u003e \u003cbr\u003e  \u003cbr\u003e\u003cspan style=\"font-weight:bold\"\u003eFANFARE: Bill White \u003c\/span\u003e","brand":"Opus Arte","offers":[{"title":"Blu-Ray","offer_id":46025517793514,"sku":"809478071181","price":39.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2248449.jpg?v=1778305488"},{"product_id":"wozzeck-206155","title":"Berg: Wozzeck \/ Weigle, Frankfurt Opera and Museum","description":"\u003cp\u003eAlban Berg’s Wozzeck, which premiered at Lindenoper\/ Berlin in 1925, is regarded as one of the key music compositions of the 20th century and an essential work in any connoisseur’s collection. The opera is based on the drama Woyzeck, which was left incomplete by the German playwright Georg Büchner at his death. Berg attended the first production in Vienna of Büchner's play on May 5, 1914, and knew at once that he wanted to base an opera on it. From the fragments of unordered scenes left by Büchner, Berg selected fifteen to form a compact structure of three acts with five scenes each. He adapted the libretto himself. On this release, the Frankfurt Opera, under the baton of Sebastian Weigle, delivers a razor-sharp and exciting interpretation. With Audun Iversen and Claudia Mahnke in the main roles the recording shows an ideal cast.\u003c\/p\u003e","brand":"Oehms Classics","offers":[{"title":"CD","offer_id":46027483054314,"sku":"4260034869745","price":25.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3809447.jpg?v=1778279077"}],"url":"https:\/\/arkivmusic.com\/collections\/carl-morten-iversen.oembed","provider":"ArkivMusic","version":"1.0","type":"link"}