IDDO BAR-SHAI\u00a0\u00a0\u00a0 \/\u00a0\u00a0\u00a0 PIANO<\/p>\n
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The Israeli pianist Iddo Bar-Shai was born in 1977 in Nazareth Illit. He studied with Bracha Ornan-Margalit in Haifa and with Prof. Pnina Salzman in the piano department at the Rubin Music Academy in Tel-Aviv University, also receiving guidance from Maestro Alexis Weissenberg. At early stages he attracted attention for his playing and already at the age of 11 he was a recipient of the America – Israel Cultural Foundation scholarships.<\/p>\n
Since then his career has taken on an international dimension: he has performed on important stages such as the Wigmore Hall (London), the Mann Auditorium (Tel Aviv), the Theatre des Champs Elysees (Paris), the Tokyo Opera City Hall, The Beijing Zhongshan Concert Hall and others in various countries among which are many European countries, Israel, The USA, Japan, The People\u2019s Republic of China and Brazil.<\/p>\n
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He first performed as a soloist with an orchestra at the age of twelve, and has subsequently played under the batons of Eliahu Inbal, Lawrence Foster, Aldo Ceccato, Jesus Lopez-Cobos and G\u00fcnter Pichler among others with prominent orchestras in Europe and Israel such as the English Chamber Orchestra, the Israel Philharmonic Orchestra, The Orchestre National de Lille, The Freiburg Philharmonic orchestra, the Jerusalem Symphony \u2013IBA, the Orchestre de Chambre de Paris and others.<\/p>\n
Iddo Bar-Shai is keen to enjoy all the varied possibilities offered by his instrument, and regularly performs chamber music with such ensembles as the Ysa\u00ffe Quartet, the Aviv Quartet, the Eb\u00e8ne Quartet, the Modigliani Quartet and the American String Quartet as well as collaborating with artists such as: Alisa Weilerstein, Anna Prohaska, Vilde Frang, Sayaka Shoji, Mihaela Martin and Frans Helmerson amongst others.<\/p>\n
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He has been a participant of the Verbier Festival & Academy and in the \u201cSteans Institute\u201d program at the Ravinia Festival.\u00a0 In 2004 he gave his d\u00e9but recital in the prestigious International Piano Festival of La Roque d’Anth\u00e9ron in France and since then he has been performing there every year. He has been also regularly performing in the \u201cLa Folle Journ\u00e9e\u201d festivals taking place in Nantes, Lisbon, Tokyo, Warsaw and Rio de Janeiro and the La Grange de Meslay festival (France). Other festivals he took part in are: the Jerusalem International Chamber Music Festival in Berlin and Jerusalem, the Radio-France music festival in Montpellier, Menton festival and \u201cthe Martha Argerich Project\u201d festival in Lugano to name a few.<\/p>\n
In 2010 he took part in playing the integral of Chopin’s piano works with 5 other pianists in all La Folle Journee festivals around the globe concluding in Warsaw (where it was recorded and filmed for Mezzo television channel).<\/p>\n
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Iddo was selected to be an artist in residence of \u201cLes Dominicains de Haute Alsace\u201d for the seasons 2014-15 and 2015-16\u00a0 and has collaborated within this framework with shadows artist Philippe Beau for a project \u201cLes Ombres Errantes\u201d with Francois Couperin\u2019s keyboard works. This project was highly acclaimed by the press and is planned to tour worldwide.<\/p>\n
Other highlights in this season include a collaboration with renowned pianist Menahem Pressler performing together Mozart\u2019s double piano concerto (in Jerusalem) and a collaboration playing with the renowned pianist Martha Argerich Bach\u2019s concerto for 4 pianos (in Bonn).<\/p>\n
Next year will mark his first collaboration with the Kremerata Baltica orchestra.<\/p>\n
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Iddo Bar-Shai is a first prize winner of various competitions among which: the Israeli Radio Broadcasting \u201cYoung Artist \u201c piano competition in 1997, the Tel – Aviv Chopin competition in 1998, the \u201cAviv Competitions\u201d: Israel\u2019s most acclaimed national competition for young musicians in 1999 and \u201cThe Peter Jay Sharp Competition \u2013 The Vendome Prize\u201d in 2000.<\/p>\n
His performances have been recorded and broadcast by French, Israeli, Swiss, German, Dutch, Irish and American radio channels and live performances of his were recorded and broadcast by “Mezzo”, “Arte” and NHK television channels. He has also taken part in the recording of a DVD \u201cLes Pianos de Demain\u201d (Na\u00efve\/Id\u00e9ale Audience) with cooperation of Arte and France-3 television channels.<\/p>\n
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In 2006 was released a CD with his playing of Haydn piano works under the \u201cMirare\u201d label which gained much praise in the press: receiving \u201c5 diapasons\u201d from the \u201cDiapason\u201d magazine, described as \u201cone of the best ever, dedicated to the piano works of Haydn\u201d by \u201cLe Monde de La Musique\u201d , as an \u201coutstanding release \u2013 an obligatory purchase for all lovers of the Classical repertoire\u201d by \u201cInternational Piano\u201d magazine and as a “superb recital that announces the arrival of a pianist\u00a0of a grand talent who joins his predecessors, Curzon and De Larrocha in the Andante, Brendel\u00a0and Gould for the sonatas” by “Classica R\u00e9pertoire”, and has been selected and awarded by various magazines and radio channels (notably being selected in the \u201cAnnual International Piano Awards 2006\u201d of \u201cInternational Piano\u201d magazine as one of three best CDs in the category : \u201cRising star award for best debut recording\u201d).\u00a0\u00a0\u00a0<\/p>\n
In December 2008 came out his CD recording with “Mirare” of Chopin Mazurkas which has received worldwide unanimous praise receiving highest possible markings from prestigious magazines such as “Le Figaro” and German “Fonoforum” described as a “magnificent achievement which confirms a new great talent of present keyboard” (Classique-news online magazine) and as “A major and unique CD” (\u201cLe Devoir”). His last CD that came out in 2013 dedicated entirely to the works of Francois Couperin has been described as “a welcome addition to the Couperin discography. Bar-Shai’s playing is at once delicate and unshakable” by the American Records Guide and as \u201ca disc that draws one in, demonstrating that Couperin is a viable composer for the modern piano, and Bar-Sha\u00ef does a splendid job. You can\u2019t go wrong with such a finely-nuanced and expressive interpretation\u201d by Fanfare magazine. \u00a0\u00a0<\/p>\n
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Press Clippings<\/strong><\/p>\n \u00a0<\/strong><\/p>\n \u201cThis is a thrilling debut. \u2026his performances are nothing short of revelatory.<\/p>\n Bar-Shai takes the sonatas seriously \u2013 and thus reveals their anticipation of Beethoven\u2019s \u2013 without desiccating or romanticizing them.\u00a0 Slow movements are sensitively poised and the three presto finales bubble excitingly.\u00a0\u00a0 Nothing is under \u2013 or over stated; everything is natural and unforced yet refined and polished \u2013 a rare combination. Mirare\u2019s detailed documentation completes an outstanding release.\u00a0 It is fervently to be hoped that Bar-Shai will record all Haydn\u2019s sonatas, as he excels even Alfred Brendel, who sounds calculated and self-conscious by comparison. In any case, this is an obligatory purchase for all lovers of the Classical repertoire.\u201d<\/p>\n Joe Laredo, \u201cInternational Piano\u201d Magazine ,\u00a0 September-October 2006 \/ also selected in the \u201cAnnual International Piano Awards 2006\u201d of this magazine as one of three best CDs in the category : \u201cRising star award for best debut recording\u201d,\u00a0 November-December 2006<\/strong><\/p>\n <\/p>\n \u00a0<\/strong><\/p>\n <\/p>\n <\/p>\n “\u2026 As from the first bars of this recital, the ear is drawn up and until the end of this chronologically applied voyage through the world of mazurkas of Chopin one remains captivated \u2013 yes seized and fascinated by the\u00a0effortless elegance of the play and the velvet touch, which successfully hits the core of this music.\u2028Iddo bar-Shai trusts himself to go far beyond the secure terrain of solid fidelity to the work: he interprets decidedly, puts the chevaleresque rhythms, the melodic bows and the harmonic finesses of his choice of mazurkas in a free and pronounciated way but perfect in form, in piano-play and arch-musically. He is a phenomenal legato- and pianissimo-player, who outbids the 30 works with much adolescent-unconsumed phantasie, without once becoming abrasive or aloud. As if self evidently, Bar-Shai succeeds in\u00a0giving every mazurka a convincing form and at the same time being true to the intimacy of the art of Chopin. Fantastic.”<\/p>\n Ingo Harden, “Fonoforum”, 2009 \u201c5 Stars\u201d \/ on \u201cChopin Mazurkas\u201d CD- Mirare<\/strong><\/p>\n \u00a0<\/strong><\/p>\n <\/p>\n “Iddo Bar-Shai brings these sonatas to life with a highest musical intelligence… This superb recital announces the arrival of a pianist\u00a0of a grand talent who joins his predecessors, Curzon and De Larrocha in the Andante, Brendel\u00a0and Gould for the sonatas”<\/p>\n St\u00e9phane Fri\u00e9d\u00e9rich, “Classica R\u00e9pertoire”, November 2006 edition on \u201cHaydn Sonatas\u201d CD- Mirare\u00a0<\/strong><\/p>\n \u00a0<\/strong><\/p>\n <\/p>\n “It’s with stunning talent that the pianist Iddo Bar-Sha\u00ef submitted 25 miniatures<\/em> to the Mirare label that are worthy of stomping out any lasting doubt. His touch is deft, voluptuous and polished. Between the voices each phrase exhales individually. When the baroque phrase’s mechanism begins, so does the movement, instructed by grace, as if slightly wet by the wake of a wave of a subtle agogic\u2026\u00a0 With enchantment, Bar-Sha\u00ef interprets pieces that are practically impossible to perform on instruments that only have one keyboard. The notes, springing with life, repeated in Le Tic-Toc-Choc ou<\/em> Les Maillotins<\/em> are just simply electrifying\u2026 “<\/p>\n Helmut Rohm \/ “Bayerischer Rundfunk”\/ 22.04.2013<\/em><\/strong><\/p>\n <\/p>\n <\/p>\n “Iddo Bar-Shai is a very talented, sensitive and vertebrate Israeli pianist… Les Ombres errantes<\/em> is a remarkable CD. As many landscapes, so as sentiments, exactness mixes up to all fantasies: springtime on a record player.<\/p>\n The composer would have loved it, don’t doubt it for a moment.”<\/p>\n Frederick Casadesus \/ Mediapart \/ 2.4.2013 <\/em><\/strong><\/p>\n <\/p>\n <\/p>\n “Israeli pianist Iddo Bar-Shai has become well known for his highly poetical Haydn sonatas. He goes further now, conferring on these 25 short musical pieces grandeur and rich sounds that sometimes are close to anachronism, but he succeeds not to fall in it. \u00a0In these pieces which are so elliptic that they are hardly decipherable, he researched a chiaroscuro evoking works by de La Tour and Delacroix as well.”<\/p>\n Fran\u00e7ois Lafon \/ Musikzen\/ 6.5.2013<\/em><\/strong><\/p>\n <\/p>\n “Indeed the titles of Couperin’s works are altogether beautiful and mysterious, even if rare are the harpsichordists who are able to transmit this poetry. Iddo Bar-Shai, is able to and he does so on the piano. This CD, dedicated to the memory of Alexis Weissenberg, is a fabulous achievement\u2026 the result is beautiful, moving and exciting at every moment”<\/p>\n Jongen Fran\u00e7ois\/ La Libre \/26.6.13<\/em><\/strong><\/p>\n <\/p>\n <\/p>\n “There are those rare listening occasions that immediately sweep you right off your feet for a magical journey from which you only return after the final note. Such is the journey that Iddo Bar-Sha\u00ef has sent us on, with his new album\u2026 Iddo Bar-Shai has all the distinctions for transfiguring the art of Couperin, its delicacy, effervescence, dancing elegance, liveliness and elation, into an experience as captivating as it is poetic and demanding\u2026<\/p>\n Fundamentally, Iddo Bar-Sha\u00ef is an outstanding virtuoso<\/em>, as he leads one to believe at appropriate occasions, and yet his virtuosity is presented with noble discretion \u2013 at the service of the genius, of the energy creator, and of the process leading to the final creation. Each one of these memorable miniatures reveals an individual personality, each one constitutes a clear connection in the journey on which Iddo Bar-Sha\u00ef invites his listeners, at each note. After listening to Iddo Bar-Shai’s Couperin interpretation, I now see him as one of the most lyrical and refined pianists of our time.”<\/p>\n Christoph Schl\u00fcren \u00a0\/ “The Listener”\/ 18.6.2013<\/em><\/strong><\/p>\n <\/p>\n <\/p>\n “The sound is probably richer and more refined\u00a0than the young generation\u2019s current trend, a good point to convey the myriads of iridescences of this music. The sense of the discourse is free and audacious\u2026 “<\/p>\n Philippe Ramin\/ Diapason\/ May 2013<\/em><\/strong><\/p>\n <\/p>\n <\/p>\n “…when Iddo Bar-Shai joined the players for a chamber performance of Mozart’s Piano Concerto in E flat major, here, to their clean and vivacious playing added a crucial sense of purpose. This was Mozart of charm, elegance and warmth.”<\/p>\n “Strad” magazine – March 2004 edition<\/strong><\/p>\n <\/p>\n <\/p>\n \u201cBar-Shai displayed a formidable command of the piano, and of Chopin\u2019s technically and musically demanding Piano Concert No. 2. There was much sensitivity and easily flowing virtuosity in his rendition.\u00a0 His touch was appealingly soft, yet incisive and forceful when required.\u201d\u00a0<\/p>\n Uri Eppstein\/ \u201cThe Jerusalem Post\u201d – 2\/11\/2004<\/strong><\/p>\n <\/p>\n <\/p>\n \u201c\u2026in an overwhelming naturalness, keeping the effects, playing with accents the syncopations and the silences at an unbelievable ease. The Sonata in G<\/em> (Hob XVI\/ 40, in two movements) is probably the summit of the program, perfectly put together with its marvelous Allegretto innocente<\/em> which fills one with tears and this Presto liberating its joy: one does not see an equivalent for this in the discography. \u2026The Variations in F minor <\/em>accomplish a convincing sense of the marching and of the Haydnian temperament of Iddo Bar-Shai, born under very good stars. \u201d\u00a0\u00a0<\/p>\n Etienne Moreau, Diapason, October 2006,\u00a0 \u00ab\u00a05 diapasons\u00a0\u00bb on \u201cHaydn Sonatas\u201d CD- Mirare <\/strong><\/p>\n <\/p>\n <\/p>\n “\u2026Listening to this music played by Israeli Bar-Shai as if he had always breathed it, you become dizzy when you think of the stilted and affected records by Polish Rafal Blechacz, the winner of the Chopin competition\u2026 But believe me, Iddo Bar-Shai\u00a0 is the one to be followed.<\/p>\n First, there is this bizarre pulsation that cannot be invented and cannot be learnt. This is like Schumann : one has it or does not. Bar-Shai has it\u2026 What is striking first is the incredible porcelain delicacy that Bar-Shai can show. When you follow this journey, you realize that the mazurkas are Chopin\u2019s intimate diary, a report of his cracks and his fragility. One is very far from a series of dances as one is in the field of confession.\u00a0 This unexpected and very subjective travel (the subjectivity of a true artist, not of a sentiment faker) is one of the great surprises of Chopin discography\u2026”<\/p>\n Christophe Huss, “ClassicsTodayFrance”, about ” Chopin Mazurkas” MIR075, 2009<\/strong><\/p>\n <\/p>\n <\/p>\n \u201cIddo Bar-Shai\u00a0 plays it marvelously (the finale<\/em> is more lifting than with Richter- Decca), but it is mostly in the central \u201cAdagio<\/em>\u201d in D minor that Iddo Bar-Shai’s\u00a0 specific qualities appear : he plays these pages in an intimate and interiorized way which is the case also in the other slow movements and especially the famous Variations in F minor of 1793. In this piece, taken rather slowly and with mystery, the coda is splendid. It melts little by little into the silence, bringing up a high degree of emotion. \u2026this CD, with its reflecting sonorities, is one of the best ever dedicated to Haydn’s piano works.\u201d<\/p>\n Marc Vignal, \u201cLe Monde de la Musique\u201d, November 2006, on \u201cHaydn Sonatas\u201d CD- Mirare<\/strong><\/p>\n <\/p>\n \u201c\u2026(I) was impressed by his mature style and his approach to music in general.\u00a0 He is an artist.\u201d (Alexis Weissenberg) <\/strong>\u00a0<\/p>\n <\/p>\n <\/p>\n \u201cWhoever listens with his eyes closed to Iddo playing Chopin, may think it is<\/p>\n \u00a0Rubinstein playing.\u201d (Pnina Salzman \/ \u201cMaariv\u201d –\u00a0 25\/5\/2001)<\/strong><\/p>\n <\/p>\n <\/p>\n “\u2026His Chopin is marvelous, thanks to his touch that goes from grace to dream, pain and nostalgia\u2026 This new recital on disc is a shear jewel of musicality, delicacy, penetrating intelligence. It comes after his Haydn CD and confirms the personality of Israeli pianist, Iddo Bar-Shai, 31. The pianist always finds the appropriate tone, between tension, energy, hypersensitivity, delicateness, heart pulses, vertigo of the soul, precise chiseling of harmonies that are sometimes bizarre, soft dreamlike ornaments\u2026 this exploding cocktail that is the basis of Chopin\u2019s magic : the painful thrust, Polish tropism ; the French grace and balance ; the deepness of German romanticism \u2026<\/p>\n The suggestive and chiseled touch of the pianist is a new face of his maestria. We admired so much his first Mirare record with the Haydn sonatas in 2006. His Chopin quivers, gets excited, unveils himself but always with a perceptible ounce of false lightness, aristocratic elegance, and a sensitive grand style. A sensitive panache which reveals itself to be exciting.\u00a0 The pianist\u2019s touch is memorable, deeply impressive by the chiseled flow in ethereal softness, this quality of dreams which characterizes Chopin\u2019s intimate and secret poetry. A magnificent achievement which confirms a new great talent of present keyboard.”<\/p>\n St\u00e9phanie Bataille, Classique News, November 20<\/strong>th<\/sup><\/strong>\u00a0 2008\u00a0 \/on \u201cChopin Mazurkas\u201d CD- Mirare<\/strong><\/p>\n <\/p>\n “\u2026 This disc is a pearl of delicacy and lightness. This does not exclude the expressive variants. Iddo Bar-Shai, Israeli prodigy and a superbly asserted pianist, finds this incomparable elegant tone that Chopin used to hem his pains. One “stamps one\u2019s heels” on the keyboard, one bounces, and overall, one tells the story of a life, because Chopin did not stop writing mazurkas\u2026 Excellent.”<\/p>\n Jacqueline Thuilleux, Le Figaro, 3\/1\/2009 \/ on \u201cChopin Mazurkas\u201d MIR075<\/strong><\/p>\n <\/p>\n <\/p>\n “\u2026Iddo Bar-Shai\u2019s pianism corresponds exactly to what he says. The delicate nuances seduce us and do not prejudice the rhythmic life without which these pages would get dull and sentimental. He succeeds in the most complete manner in saying everything with the discretion required by what the pianist describes as \u201cthe musical journal of Chopin\u2019s life\u201d. “<\/p>\n Jean Roy, “Le Monde de La Musique”, January 2009 \/ on \u201cChopin Mazurkas\u201d MIR075<\/strong><\/p>\n \u201cHere is a Haydn one never gets tired of listening to. The young Israeli pianist, Iddo Bar-shai, 29, has got velvet and pearly sensibility under his fingers. \u2026Beyond his technical gifts, the young man surprises and captivates by his very certain sense of atmosphere, of his self investment and of the palette of colors. His richness of sounds turns out to be mainly magisterial. His crystalline agility that dares rhythm break-ups, takes risks, commits itself and varies the accent, is convincing. Under the agile fingers of the young performer, here is a Haydn that palpitates and spins around the heart. His vivacity neither artificial nor shows mannerism: it comes from the emotion. The infinitely tender and interior reading (adagio of the no. 38) unveils an interpretation woven by serenity and profoundness. \u2026The tangible commitment of the interpreter rereads the score: insouciance and sovereign sensibility, fantasy and imagination stand up here freely and break with the excess of moderation shown by most of Haydn sonatas interpreters. But here, you have got this biting jubilant, a sparkling crossing of the piece full of light and grace, mischievousness and ideas, subtlety and audacity, tenuous atmospheres full of the most sensitive emotions that force respect, admiration and the desire to listen again and again to those thrilling rereadings. A revelation.\u201d<\/p>\n Carter Chris Humphray, Classique News, July 1<\/strong>st<\/sup><\/strong>\u00a0 2006\u00a0 \/on \u201cHaydn Sonatas\u201d CD- Mirare<\/strong><\/p>\n <\/p>\n \u201dThis CD is magnificent as this pianist seems to have completely understood Haydn:<\/p>\n the fast movements are right and never exaggerated while the slow movements are given from a certain po\u00e9sie that embark us each time in a different story\u2026 Iddo Bar-Shai is already a grand pianist to follow\u201d.<\/p>\n Fr\u00e9d\u00e9ric Platzer, \u00a0ResMusica,\u00a0 receiving \u00ab\u00a0coup de c\u0153ur de la r\u00e9daction\u00a0\u00bb 08\/09\/2006 on \u201cHaydn Sonatas\u201d CD- Mirare <\/strong><\/p>\n <\/p>\n <\/p>\n “What this young Israeli pianist does with Chopin’s Mazurkas is fascinating\u2026\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Without doubting the legacy of Rubinstein, Bar-Shai establishes first of all the uniqueness of the Mazurkas, reminding us of their interest and explores their moods often marked by anxiety, sensation well rendered by the inherent instability of their rhythms. Bar-Shai also creates a very exceptional sound universe, with small allusive touches. A major and unique CD.”<\/p>\n Christophe Huss, “Le Devoir”, April 17<\/strong>th<\/sup><\/strong> 2009\/ on “Chopin Mazurkas” CD- Mirare<\/strong><\/p>\n <\/p>\n “Bar-Shai’s playing is at once delicate and unshakable. He comes close to the ceiling of the sound but never transgresses it. He respects the natural transparency of the piano’s timbre, and the result is a highly inflected cantabile tone that serves Couperin’s music well. This is a welcome addition to the Couperin discography.”<\/p>\n Benjamin Katz\/ American Record Guide, September-October 2013 issue<\/em><\/strong><\/p>\n “Evocative or enigmatic, the titles inspire Iddo Bar-Shai to a reading which is lively, limpid and light. The Israeli goldsmith threads the pieces like real pearls on a silver chain. Surprise; he presents these beautiful baroque treasures on today\u2019s Steinway. His piano, devoid of any severity, could almost pass for a period instrument.”<\/p>\n La Libert\u00e9 (Suisse) \/ 09.03.2013<\/em><\/strong><\/p>\n <\/p>\n <\/p>\n “The pianist knows how to capture the spirit of each piece, serious or brilliant, evoking a landscape or a pastoral scene. How can one resist such a fine touch?”<\/p>\n St\u00e9phane Fri\u00e9d\u00e9rich \/ Classica\/ May 2013<\/em><\/strong><\/p>\n \u00a0<\/em><\/strong><\/p>\n \u201chis rendition makes Couperin unfold in a sonorous and expressive manner that brings a new light to interpreting these movements. Bar-Sha\u00ef\u2019s fluid performance, with every ornament neatly and precisely in place, supports and illuminates them in a way that is like a gloss of decorative but pastel paint\u2026\u00a0 I find that this disc draws one in, demonstrating that Couperin is a viable composer for the modern piano, and Bar-Sha\u00ef does a splendid job. You can\u2019t go wrong with such a finely-nuanced and expressive interpretation\u201d\u00a0 Bertil van Boer \/Fanfare\/ May 2013<\/em><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":" IDDO BAR-SHAI\u00a0\u00a0\u00a0 \/\u00a0\u00a0\u00a0 PIANO The Israeli pianist Iddo Bar-Shai was born in 1977 in Nazareth Illit. He studied with Bracha Ornan-Margalit in Haifa and with Prof. Pnina Salzman in the piano department at the Rubin Music Academy in Tel-Aviv University, also receiving guidance from Maestro Alexis Weissenberg. At early stages he attracted attention for […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-2402","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.jso.co.il\/en\/wp-json\/wp\/v2\/posts\/2402","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.jso.co.il\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.jso.co.il\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.jso.co.il\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.jso.co.il\/en\/wp-json\/wp\/v2\/comments?post=2402"}],"version-history":[{"count":2,"href":"https:\/\/www.jso.co.il\/en\/wp-json\/wp\/v2\/posts\/2402\/revisions"}],"predecessor-version":[{"id":2404,"href":"https:\/\/www.jso.co.il\/en\/wp-json\/wp\/v2\/posts\/2402\/revisions\/2404"}],"wp:attachment":[{"href":"https:\/\/www.jso.co.il\/en\/wp-json\/wp\/v2\/media?parent=2402"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.jso.co.il\/en\/wp-json\/wp\/v2\/categories?post=2402"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.jso.co.il\/en\/wp-json\/wp\/v2\/tags?post=2402"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}