{"id":10407,"date":"2018-07-09T15:02:10","date_gmt":"2018-07-09T22:02:10","guid":{"rendered":"http:\/\/classicalguitarmagazine.com\/?p=10407"},"modified":"2018-07-10T13:23:07","modified_gmt":"2018-07-10T20:23:07","slug":"world-cup-semifinal-special-2-england-alexandra-whittingham-v-croatia-ana-vidovic","status":"publish","type":"post","link":"https:\/\/classicalguitarmagazine.com\/world-cup-semifinal-special-2-england-alexandra-whittingham-v-croatia-ana-vidovic\/","title":{"rendered":"World Cup Semifinal Special #2: England (Alexandra Whittingham) v. Croatia (Ana Vidovic)"},"content":{"rendered":"<p>If you saw our previous posting, you know we&#8217;re having a little fun with a mash-up of two completely unrelated subjects: the World Cup (which is holding its semifinal matches in St. Petersburg\u00a0 and Moscow on July 10 and 11) and classical guitar. We had a couple of men representing the participants in the Tuesday semi: Thibaut Garcia of France and Boris Gaquere of Belgium. So let&#8217;s have two women for the other semi: Alexandra Whittingham of England and Ana Vidovic of Croatia. Whittingham plays a lovely version of T\u00e1rrega&#8217;s\u00a0<em>Capricho \u00e1rabe<\/em>, while Vidovic weighs in with modern steel-string guitar wizard Pierre Bensusan&#8217;s <em>Altiplanos<\/em>.<\/p>\n<p><iframe src=\"https:\/\/www.youtube.com\/embed\/d2a_yfT84KQ\" width=\"780\" height=\"439\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><br \/>\nAnd please, do not use vuvuzela horns to accompany these pieces!<br \/>\n<img data-recalc-dims=\"1\" decoding=\"async\" class=\"alignnone size-medium wp-image-10414\" src=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2018\/07\/vuvuzela-300x168.jpg?resize=300%2C168\" alt=\"\" width=\"300\" height=\"168\" srcset=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2018\/07\/vuvuzela.jpg?resize=300%2C168&amp;ssl=1 300w, https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2018\/07\/vuvuzela.jpg?w=462&amp;ssl=1 462w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><\/p>\n","protected":false},"excerpt":{"rendered":"<p>If you saw our previous posting, you know we&#8217;re having a little fun with a mash-up of two completely unrelated subjects: the World Cup (which is holding its semifinal matches in St. Petersburg\u00a0 and Moscow on July 10 and 11) and classical guitar. We had a couple of men representing the participants in the Tuesday semi: Thibaut Garcia of France and Boris Gaquere of Belgium. So let&#8217;s have two women for the other semi: Alexandra Whittingham of England and Ana [&hellip;]<\/p>\n","protected":false},"author":11,"featured_media":10411,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"video","meta":{"advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[6,7],"tags":[],"class_list":["post-10407","post","type-post","status-publish","format-video","has-post-thumbnail","hentry","category-news","category-watch","post_format-post-format-video"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2018\/07\/alexandra.jpg?fit=1280%2C720&ssl=1","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/10407","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/users\/11"}],"replies":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/comments?post=10407"}],"version-history":[{"count":0,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/10407\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media\/10411"}],"wp:attachment":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media?parent=10407"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/categories?post=10407"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/tags?post=10407"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}