{"id":3207,"date":"2022-02-16T13:55:42","date_gmt":"2022-02-16T12:55:42","guid":{"rendered":"https:\/\/www.cozynotes.cz\/?p=3207"},"modified":"2022-02-16T19:45:00","modified_gmt":"2022-02-16T18:45:00","slug":"dvakrat-o-podobach-lasky","status":"publish","type":"post","link":"https:\/\/www.cozynotes.cz\/index.php\/2022\/02\/16\/dvakrat-o-podobach-lasky\/","title":{"rendered":"Dvakr\u00e1t o podob\u00e1ch l\u00e1sky."},"content":{"rendered":"\n

Podoba prvn\u00ed | Alcina. <\/strong><\/p>\n\n\n\n

Nejsp\u00ed\u0161 jste o n\u00ed u\u017e sly\u0161eli. Dokonce i m\u00e9dia, kter\u00e1 o operu sotva zavad\u00ed, psala o nev\u00eddan\u00e9m spekt\u00e1klu v Brn\u011b. Velmi m\u011b pobavila pom\u011brn\u011b hloup\u00e1 ot\u00e1zka v jednom rozhovoru s V\u00e1clavem Luksem. Jak pr\u00fd k tomu p\u0159ijdou pra\u017ean\u00e9, \u017ee Alcina bude v Brn\u011b a pak ans\u00e1mbl odcestuje s produkc\u00ed do Versailles a do Caen. Praha v seznamu jaksi chyb\u00ed – jak\u00e1 troufalost! V Praze je mo\u017en\u00e9 sly\u0161et skv\u011blou barokn\u00ed muziku a to i pr\u00e1v\u011b d\u00edky V\u00e1clavu Luksovi a jeho Collegiu 1704. Pra\u017esk\u00e1 opern\u00ed sc\u00e9na je ov\u0161em\u2026 ehm. No zkr\u00e1tka, Jan\u00e1\u010dkova opera v Brn\u011b je sv\u011btov\u00e1 a to je skv\u011bl\u00e9. <\/p>\n\n\n\n

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Plak\u00e1t k p\u0159edstaven\u00ed, zdroj: ND Brno<\/figcaption><\/figure>\n\n\n\n\n\n\n\n

Ostatn\u011b Alcina nen\u00ed prvn\u00ed spolupr\u00e1ce Brna s odborn\u00edky na barokn\u00ed muziku. A je to op\u011bt spolupr\u00e1ce vyda\u0159en\u00e1. Hv\u011bzdn\u00fd t\u00fdm re\u017eis\u00e9ra Ji\u0159\u00edho He\u0159mana<\/strong>, sc\u00e9nografa Dragana Stoj\u010devsk\u00e9ho<\/strong> a pr\u00e1v\u011b V\u00e1clava Lukse <\/strong>a jeho Collegia 1704<\/strong> uchystal v Brn\u011b kouzelnou a vizu\u00e1ln\u011b i hudebn\u011b nesm\u00edrn\u011b p\u016fsobivou inscenaci H\u00e4ndelovy opery Alcina. Skorem \u010dty\u0159i hodiny n\u00e1dhery. Alcina p\u0159et\u00e9k\u00e1 kr\u00e1snou hudbou a skv\u011bl\u00fdmi \u00e1riemi. A Collegium 1704 pod Luksov\u00fdm veden\u00edm p\u0159edstavuje skv\u011bl\u00e9 a nesm\u00edrn\u011b citliv\u00e9 nastudov\u00e1n\u00ed t\u00e9to opery. Ve sc\u00e9n\u011b o\u017e\u00edv\u00e1 tajupln\u00fd ostrov kouzel, kde vl\u00e1dne mocn\u00e1 kouzelnice Alcina. Mocn\u00e1, ale ne\u0161\u0165astn\u00e1. Ani kouzly nelze p\u0159i\u010darovat l\u00e1sku. V He\u0159manov\u011b re\u017eii sledujeme nejen poh\u00e1dkov\u00fd a z\u00e1m\u011bnami\/poblouzn\u011bn\u00edm pro\u0161pikovan\u00fd p\u0159\u00edb\u011bh. Mohli bychom jej sice snadno odb\u00fdt jako souboj dobra a zla, ale jde p\u0159edev\u0161\u00edm o drama l\u00e1sky, drama \u017eeny, kter\u00e1 zoufale tou\u017e\u00ed a miluje a nakonec z\u016fstane opu\u0161t\u011bn\u00e1 a zlomen\u00e1. <\/p>\n\n\n\n

D\u016fm na pob\u0159e\u017e\u00ed ostrova, kter\u00fd na brn\u011bnsk\u00e9 sc\u00e9n\u011b tak geni\u00e1ln\u011b otev\u00edr\u00e1 sv\u00e1 tajemstv\u00ed, m\u016f\u017ee b\u00fdt opravdu vhledem do lidsk\u00e9ho srdce. To ostatn\u011b zazn\u011blo i v jednom z rozhovor\u016f s realiz\u00e1tory. Srdce m\u016f\u017ee b\u00fdt bohat\u00fdm s\u00e1lem nab\u00edzej\u00edc\u00edm rozko\u0161e a pot\u011b\u0161en\u00ed smysl\u016f, ale tak\u00e9 bludi\u0161t\u011bm, kde mezi temn\u00fdmi cyp\u0159i\u0161i bloud\u00ed lidsk\u00e9 touhy, nebo vyprahlou pou\u0161t\u00ed, kde si \u010dlov\u011bk zouf\u00e1. Ano, v\u017edy\u0165 p\u0159ece v\u0161echny tyhle podoby m\u00e1 l\u00e1ska. Napln\u011bn\u00e1, i ta neop\u011btovan\u00e1, l\u00e1ska otcovsk\u00e1\/synovsk\u00e1, ale i ohniv\u00e9 a v\u00e1\u0161niv\u00e9 mileneck\u00e9 vzplanut\u00ed. Tohle v\u0161e mistrn\u011b H\u00e4ndel vetknul do partitury a to v\u0161e nem\u00e9n\u011b mistrn\u011b pro div\u00e1ka zprost\u0159edkovali v Brn\u011b.<\/p>\n\n\n\n

Sc\u00e9na i kost\u00fdmy (Dragan Stoj\u010devski a Alexandra Gruskov\u00e1<\/strong>) to\u0165 harmonie, v\u010detn\u011b v\u00fdrazn\u00e9 zm\u011bny kost\u00fdm\u016f ve t\u0159et\u00edm d\u011bjstv\u00ed, kdy jsou Alcinina kouzla zlomena, stejn\u011b jako jej\u00ed srdce. Jednoduch\u00fd, ale geni\u00e1ln\u011b promy\u0161len\u00fd d\u016fm, kter\u00fd se otev\u00edr\u00e1 a ukazuje sv\u00e9 komnaty a zrcadl\u00ed je. <\/p>\n\n\n\n

Vtipn\u00e1 a p\u0159itom st\u00e1le vkusn\u00e1 baletn\u00ed choreografie Jana Kodeta<\/strong>, kterou mus\u00ed ocenit i zoologov\u00e9, dok\u00e1\u017ee vhodn\u011b zd\u016fraznit jak majest\u00e1tn\u00ed linku hudby, tak vn\u00e9st do p\u0159edstaven\u00ed vtip a humor. (A mo\u017en\u00e1 n\u011bkdy odv\u00e9st pozornost od slab\u0161\u00edho p\u011bveck\u00e9ho obsazen\u00ed. Ale k tomu se je\u0161t\u011b dostanu.) <\/p>\n\n\n\n

Collegium 1704 je v\u017edy radostn\u00e9 sly\u0161et. V\u00e1clav Luks precizn\u011b vystihuje n\u00e1lady a tempo. Srovn\u00e1m-li s jin\u00fdmi sly\u0161en\u00fdmi interpretacemi, je to kr\u00e1sa, jak emoce v hudb\u011b zrcadl\u00ed emoce na sc\u00e9n\u011b. V Brn\u011b je snadn\u00e9 opojit se hudbou! <\/p>\n\n\n\n

Jedinou slabinou cel\u00e9 t\u00e9 n\u00e1dhery je obsazen\u00ed. Opera je nastudov\u00e1na ve dvou. Jedno, \u0159ekn\u011bme sv\u011btov\u011bj\u0161\u00ed (rozum\u011bj mezin\u00e1rodn\u00ed), druh\u00e9 v\u00edce dom\u00e1c\u00ed. Kanadskou sopranistku Karinu Gauvin v roli Alciny jsme bohu\u017eel nem\u011bli. Sm\u011ble ji zastoupila dom\u00e1c\u00ed Pavla Vykopalov\u00e1<\/strong>. Hv\u011bzda, kter\u00e1 podle m\u00e9ho u\u017e d\u00e1vno p\u0159ekro\u010dila hranice Brna. Je obdivuhodn\u00e9, kolik rol\u00ed v brn\u011bnsk\u00e9m opern\u00edm reperto\u00e1ru zvl\u00e1dne. Alcina je ale jin\u00e1 – barokn\u00ed. A barokn\u00ed hudba chce sv\u00e9 a H\u00e4ndel zp\u011bv\u00e1ky ne\u0161et\u0159\u00ed. V sobotn\u00edm p\u0159edstaven\u00ed bylo vid\u011bt, \u017ee Pavla Vykopalov\u00e1 je zde na hran\u011b mo\u017enost\u00ed a sil. Vy\u010derp\u00e1n\u00ed bylo viditeln\u011b patrn\u00e9. Ruggiero (americk\u00fd kontratenor Ray Chenez<\/strong>) v\u016fbec nezaujal. Hlas byl slab\u00fd a dokonce u\u017e i v p\u00e1t\u00e9 \u0159ad\u011b uprost\u0159ed velmi \u0161patn\u011b sly\u0161iteln\u00fd. Takt\u00e9\u017e u rol\u00ed obsazen\u00fdch dom\u00e1c\u00edmi zp\u011bv\u00e1ky, Bradamante (Monika J\u00e4gerov\u00e1<\/strong>) a Oronte (Ond\u0159ej Kopl\u00edk<\/strong>), m\u00e1m o dispozic\u00edch, jinak dobr\u00fdch p\u011bvc\u016f, k barokn\u00edmu zp\u016fsobu zp\u011bvu pochybnosti. Kopl\u00edk\u016fv Oronte m\u011bl kr\u00e1sn\u00fd hlas v recitativech, v \u00e1ri\u00edch ale selh\u00e1val. Na\u0161t\u011bst\u00ed tu zaskakovala p\u016fsobiv\u00e1 choreografie Jana Kodeta a jeho zv\u00ed\u0159ata – prom\u011bn\u011bn\u00ed milenci Alcinini. Oproti tomu naprosto excelentn\u00ed byl v\u00fdkon Doubravky Sou\u010dkov\u00e9 <\/strong>v roli Morgany! Za mne to byl suver\u00e9nn\u011b nejlep\u0161\u00ed hlas i hereck\u00fd v\u00fdkon na sc\u00e9n\u011b. Brava! Tom\u00e1\u0161 Kr\u00e1l<\/strong> jako Melisso m\u00e1 sice zku\u0161enosti a kr\u00e1sn\u00fd hlas, ale na tuto postavu Mistr H\u00e4ndel moc nemyslel, tak\u017ee jsem si jej bohu\u017eel nemohl u\u017e\u00edt dostate\u010dn\u011b. A trochu m\u011b mrzela choreografie, kter\u00e1 jej n\u011bjak nepochopiteln\u011b nutila k jak\u00e9musi pob\u00edh\u00e1n\u00ed po sc\u00e9n\u011b sem tam tak n\u011bjak beze smyslu. Proto\u017ee to cel\u00e9 klapalo jako na dr\u00e1tk\u00e1ch, byla tato podivnost dost vid\u011bt pro sv\u016fj nelad se zbytkem d\u011bn\u00ed. <\/p>\n\n\n\n

Shrnuto podtr\u017eeno, Alcina je pecka. \u0160pi\u010dkov\u00e9 a odv\u00e1\u017en\u00e9 p\u0159edstaven\u00ed, kter\u00e9 si ten v\u00fdvoz do zahrani\u010d\u00ed zaslou\u017e\u00ed a douf\u00e1m a v\u011b\u0159\u00edm, \u017ee to dot\u00e1hne na n\u011bjak\u00e1 ocen\u011bn\u00ed. Inscen\u00e1to\u0159i a Jan\u00e1\u010dkova opera pro to ud\u011blali maximum. A obsazen\u00ed? Je mi jasn\u00e9, \u017ee je to v na\u0161ich podm\u00ednk\u00e1ch n\u00e1ro\u010dn\u00e9, nav\u00edc komplikovan\u00e9 nejistotami covidov\u00fdch dn\u00ed. P\u0159esto je \u0161koda, \u017ee to \u00fapln\u011b nesedlo. Pak by vol\u00e1n\u00ed bravo muselo zbo\u0159it divadlo. Snad je druh\u00e9 obsazen\u00ed \u0161\u0165astn\u011bj\u0161\u00ed – Karina Gauvin je toho p\u0159\u00edslibem a recenze ne\u0161et\u0159\u00ed chv\u00e1lou. Za mne obdiv a hodn\u011b sil Pavle Vykopalov\u00e9 a je\u0161t\u011b jednou bravo Doubravce Sou\u010dkov\u00e9. <\/p>\n\n\n\n

Dlouhotrvaj\u00edc\u00ed ovace ve stoje jsou zaslou\u017eenou odm\u011bnou za mimo\u0159\u00e1dn\u00fd opern\u00ed po\u010din, o kter\u00e9m se bude je\u0161t\u011b dlouho mluvit a ps\u00e1t. <\/p>\n\n\n\n

<\/p>\n\n\n\n

Georg Friedrich H\u00e4ndel | Alcina<\/strong><\/p>\n\n\n\n

N\u00e1rodn\u00ed divadlo Brno, Jan\u00e1\u010dkova opera<\/strong>, proveden\u00ed 12.2.2022<\/p>\n\n\n\n

re\u017eie: Ji\u0159\u00ed He\u0159man<\/p>\n\n\n\n

sc\u00e9na: Dragan Stoj\u010devski<\/p>\n\n\n\n

kost\u00fdmy: Alexandra Gruskov\u00e1<\/p>\n\n\n\n

choreografie: Jan Kodet<\/p>\n\n\n\n

hudebn\u00ed nastudov\u00e1n\u00ed: V\u00e1clav Luks, Collegium 1704<\/p>\n\n\n\n

Alcina | Pavla Vykopalov\u00e1<\/p>\n\n\n\n

Ruggiero | Ray Chenez<\/p>\n\n\n\n

Morgana | Doubravka Sou\u010dkov\u00e1<\/p>\n\n\n\n

Bradamante | Monika J\u00e4gerov\u00e1<\/p>\n\n\n\n

Oronte | Ond\u0159ej Kopl\u00edk<\/p>\n\n\n\n

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zdroj: ND Brno<\/figcaption><\/figure>\n\n\n\n

<\/p>\n\n\n\n

Podoba druh\u00e1 | Mrtv\u00e9 m\u011bsto (Die tote Stadt). <\/strong><\/p>\n\n\n\n

\u017de nevstoup\u00ed\u0161 dvakr\u00e1t do t\u00e9\u017ee \u0159eky plat\u00ed i v p\u0159\u00edpad\u011b m\u011bsta. J\u00e1 do n\u011bj poprv\u00e9 vstoupil v p\u016fsobiv\u00e9m nastudov\u00e1n\u00ed Semperovy opery v Dr\u00e1\u017e\u010fanech. Tehdy to byla naprosto neot\u0159el\u00e1 sc\u00e9na a pr\u00e1ce s pramenem Mariin\u00fdch vlas\u016f jako hlavn\u00edm motivem p\u0159\u00edb\u011bhu ztracen\u00e9 l\u00e1sky. P\u00ed\u0161u o tom na Notesu zde<\/a>.\u00a0<\/p>\n\n\n\n

No, a proto\u017ee Korngoldova hudba je kr\u00e1sn\u00e1 a podmaniv\u00e1, a proto\u017ee jist\u00e9 nab\u00eddky vstupenek do Staatsoper Wien se neodm\u00edtaj\u00ed, a tak\u00e9, proto\u017ee linka Korngold a Brno je jasn\u00e1, zkusil jsem proveden\u00ed p\u016fvodn\u011b nastudovan\u00e9 pro Salzburger Festspiele roku 2004. Willy Decker<\/strong> (re\u017eie) a Wolfgang Gussmann <\/strong>(sc\u00e9na, kost\u00fdmy a sv\u011btla).\u00a0<\/p>\n\n\n\n

A co k tomu \u0159\u00edct? To, \u017ee se narod\u00edte pro Salzburger Festspiele a je\u0161t\u011b v roce 2022 v\u00e1s po \u0161estadvac\u00e1t\u00e9 d\u00e1vaj\u00ed ve Staatsoper je\u0161t\u011b neznamen\u00e1, \u017ee jste \u0161pi\u010dka. Inu, v Sasku v\u00e1s str\u010d\u00ed do kapsy u\u017e jen tou sc\u00e9nou. <\/p>\n\n\n\n

Tak mizern\u00e9 a papundeklov\u00e9 sc\u00e9ny jsem se ve V\u00eddni nenad\u00e1l. Nen\u00e1padit\u00e1 vizu\u00e1ln\u00ed nuda. Kdy\u017e ve druh\u00e9m d\u011bjstv\u00ed za\u010dnou po sc\u00e9n\u011b jezdit, nebo snad i v\u00ed\u0159it, chaloupky jak siluety z ladovsk\u00e9ho venkova a p\u0159edst\u00edraj\u00ed p\u0159itom, \u017ee jsou Bruggami, ano, on\u00edm mrtv\u00fdm m\u011bstem z titulu opery, stanou se z nudy i muka, a v\u00e1m nezbyde ne\u017e zd\u011b\u0161en\u011b z\u00edrat nebo zav\u0159\u00edt o\u010di a poslouchat jen tu kr\u00e1snou hudbu. To maj\u00ed b\u00fdt mu\u010div\u00e9 vize, kter\u00e9 pron\u00e1sleduj\u00ed hlavn\u00edho hrdinu? Ne, p\u0159\u00e1tel\u00e9, vizu\u00e1ln\u00edm pojet\u00edm se tohle proveden\u00ed m\u00edj\u00ed s dramatickou lini\u00ed p\u0159\u00edb\u011bhu velk\u00fdm obloukem. A to p\u0159esto, \u017ee narozd\u00edl od dr\u00e1\u017e\u010fansk\u00e9 inscenace, dr\u017e\u00ed linku vypr\u00e1v\u011bn\u00ed mnohem prost\u0161\u00ed a v\u00edce v\u011brnou p\u0159\u00edb\u011bhu a jeho vyzn\u011bn\u00ed. \u017d\u00e1dn\u00e9 d\u011bsiv\u00e9 tajemstv\u00ed, \u017e\u00e1dn\u00e9 mraziv\u00e9 odhalen\u00ed. Cel\u00fd p\u0159\u00edb\u011bh je po vizu\u00e1ln\u00ed str\u00e1nce odvypr\u00e1v\u011bn jako nudn\u00e1 p\u0159edn\u00e1\u0161ka. To, na co pat\u0159\u00edte, nesed\u00ed ani k hudb\u011b ani ke skvostn\u00fdm p\u011bveck\u00fdm v\u00fdkon\u016fm. Je to mrtv\u00e9 vypr\u00e1v\u011bn\u00ed. Mrtv\u00e9 v tom smyslu, \u017ee je bez emoc\u00ed, n\u00e1padu a atmosf\u00e9ry.<\/p>\n\n\n\n

Inscenaci zachra\u0148uj\u00ed excelentn\u00ed p\u011bveck\u00e9 v\u00fdkony v\u0161ech p\u0159edstavitel\u016f a pochopiteln\u011b orchestr V\u00edde\u0148sk\u00e9 st\u00e1tn\u00ed opery pod veden\u00edm Thomase Guggeise<\/strong>.<\/p>\n\n\n\n

Klaus Florian Vogt<\/strong> m\u00e1 n\u00e1dhern\u00fd hlas, ov\u0161em jeho postava se na jevi\u0161ti nep\u0159esv\u011bd\u010div\u011b pohybuje a belh\u00e1. Jist\u00e9 ochromen\u00ed by bylo samoz\u0159ejm\u011b re\u017eis\u00e9rsky pochopiteln\u00e9, jde p\u0159ece o zlomen\u00e9ho mu\u017ee v\u011bz\u00edc\u00edho kdesi mezi \u017eivotem a smrt\u00ed, ve sv\u011bt\u011b vzpom\u00ednek, ale Vogt\u016fv Paul je sp\u00ed\u0161 nep\u0159esv\u011bd\u010divou karikaturou, u n\u00ed\u017e skv\u011bl\u00fd p\u011bveck\u00fd projev tak ost\u0159e kontrastuje s a\u017e neum\u011ble amat\u00e9rsk\u00fdm pokusem o herectv\u00ed.\u00a0 Litevsk\u00e1 sopranistka Vida Miknevi\u010di\u016bt\u0117<\/strong> je oproti tomu velmi dobr\u00e1 Marietta nejen p\u011bvecky, ale i herecky. Kdyby jej\u00ed partner sehr\u00e1l zlomen\u00e9ho a minulosti pat\u0159\u00edc\u00edho Paula l\u00e9pe, byl by to n\u00e1dhern\u00fd a funk\u010dn\u00ed kontrast, kter\u00fd by snad mohl p\u0159eb\u00edt, nebo alespo\u0148 utlumit, nen\u00e1paditou sc\u00e9nu. Takto vyzn\u00edv\u00e1 vztah Paula a Marietty dut\u011b a nebud\u00ed \u017e\u00e1dn\u00e9 emoce, tedy krom inscena\u010dn\u00edch rozpak\u016f.\u00a0 Vrcholn\u00e9 trapnosti je dosa\u017eeno v moment\u011b, kdy je t\u0159eba zavra\u017ed\u011bnou Mariettu odstranit ze sc\u00e9ny. Prost\u011b se \u201cjen\u201d skut\u00e1l\u00ed z plo\u0161iny. Bohu\u017eel a\u017e pot\u00e9, co vydechne naposledy, tak\u017ee to vypad\u00e1, \u017ee na to prost\u011b zapomn\u011bli.<\/p>\n\n\n\n

Ale\u2026po\u0159\u00e1d je to n\u00e1dhern\u00e1 muzika a skv\u011bl\u00e9 p\u011bveck\u00e9 v\u00fdkony, tak mo\u017en\u00e1 i proto stoj\u00ed za to na Mrtv\u00e9 m\u011bsto ve V\u00eddni j\u00edt. I kdy\u017e nov\u00e9, odv\u00e1\u017en\u011bj\u0161\u00ed a p\u0159esv\u011bd\u010div\u011bj\u0161\u00ed nastudov\u00e1n\u00ed by takov\u00e9 ope\u0159e, jako je ta v\u00edde\u0148sk\u00e1, slu\u0161elo v\u00edc, ne\u017e udr\u017eov\u00e1n\u00ed vy\u010dp\u011bl\u00e9 nez\u00e1\u017eivn\u00e9 a vrzaj\u00edc\u00ed (doslova) sc\u00e9ny.<\/p>\n\n\n\n

<\/p>\n\n\n\n

Erich Wolfgang Korngold | Die tote Stadt\u00a0<\/strong><\/p>\n\n\n\n

Wiener Staatsoper<\/strong>, proveden\u00ed 11.2.2022<\/p>\n\n\n\n

re\u017eie: Willy Decker<\/p>\n\n\n\n

sc\u00e9na, kost\u00fdmy, sv\u011btla: Wolfgang Gussmann<\/p>\n\n\n\n

hudebn\u00ed nastudov\u00e1n\u00ed: Thomas Guggeis a Orchester der Wiener Staatsoper<\/p>\n\n\n\n

Paul | Klaus Florian Vogt<\/p>\n\n\n\n

Marietta\/Marie | Vida Miknevi\u010di\u016bt\u0117<\/p>\n\n\n\n

Frank\/Fritz | Adrian Er\u00f6d<\/p>\n\n\n\n

Brigitta | Monika Bohinec<\/p>\n","protected":false},"excerpt":{"rendered":"

Podoba prvn\u00ed | Alcina.  Nejsp\u00ed\u0161 jste o n\u00ed u\u017e sly\u0161eli. Dokonce i m\u00e9dia, kter\u00e1 o operu sotva zavad\u00ed, psala o nev\u00eddan\u00e9m spekt\u00e1klu v Brn\u011b. Velmi m\u011b pobavila pom\u011brn\u011b hloup\u00e1 ot\u00e1zka v jednom rozhovoru s V\u00e1clavem Luksem. Jak pr\u00fd k tomu p\u0159ijdou pra\u017ean\u00e9, \u017ee Alcina bude v Brn\u011b a pak ans\u00e1mbl odcestuje s produkc\u00ed do Versailles … <\/p>\n

Pokra\u010dovat ve \u010dten\u00ed „Dvakr\u00e1t o podob\u00e1ch l\u00e1sky.“<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[51],"tags":[],"_links":{"self":[{"href":"https:\/\/www.cozynotes.cz\/index.php\/wp-json\/wp\/v2\/posts\/3207"}],"collection":[{"href":"https:\/\/www.cozynotes.cz\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.cozynotes.cz\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.cozynotes.cz\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.cozynotes.cz\/index.php\/wp-json\/wp\/v2\/comments?post=3207"}],"version-history":[{"count":6,"href":"https:\/\/www.cozynotes.cz\/index.php\/wp-json\/wp\/v2\/posts\/3207\/revisions"}],"predecessor-version":[{"id":3216,"href":"https:\/\/www.cozynotes.cz\/index.php\/wp-json\/wp\/v2\/posts\/3207\/revisions\/3216"}],"wp:attachment":[{"href":"https:\/\/www.cozynotes.cz\/index.php\/wp-json\/wp\/v2\/media?parent=3207"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.cozynotes.cz\/index.php\/wp-json\/wp\/v2\/categories?post=3207"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.cozynotes.cz\/index.php\/wp-json\/wp\/v2\/tags?post=3207"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}