{"id":2749,"date":"2024-06-17T11:47:42","date_gmt":"2024-06-17T11:47:42","guid":{"rendered":"https:\/\/miguelfranco.net\/?page_id=2749"},"modified":"2024-06-27T14:01:30","modified_gmt":"2024-06-27T14:01:30","slug":"critica","status":"publish","type":"page","link":"https:\/\/miguelfranco.net\/en\/critica\/","title":{"rendered":"Critic"},"content":{"rendered":"<div class=\"wp-block-uagb-container uagb-block-82ba7cf7 alignfull uagb-is-root-container\"><div class=\"uagb-container-inner-blocks-wrap\">\n<div class=\"wp-block-uagb-advanced-heading uagb-block-4673e83a\"><h1 class=\"uagb-heading-text\">Critic<\/h1><\/div>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-uagb-container uagb-block-07cd88b3 alignfull uagb-is-root-container\"><div class=\"uagb-container-inner-blocks-wrap\">\n<div class=\"wp-block-uagb-blockquote uagb-block-016e4077 uagb-blockquote__skin-quotation uagb-blockquote__align-left uagb-blockquote__style-style_2 uagb-blockquote__stack-img-none critic\"><blockquote class=\"uagb-blockquote\"><span class=\"uagb-blockquote__icon\"><svg width=\"20\" height=\"20\" viewbox=\"0 0 32 32\"><path d=\"M7.031 14c3.866 0 7 3.134 7 7s-3.134 7-7 7-7-3.134-7-7l-0.031-1c0-7.732 6.268-14 14-14v4c-2.671 0-5.182 1.040-7.071 2.929-0.364 0.364-0.695 0.751-0.995 1.157 0.357-0.056 0.724-0.086 1.097-0.086zM25.031 14c3.866 0 7 3.134 7 7s-3.134 7-7 7-7-3.134-7-7l-0.031-1c0-7.732 6.268-14 14-14v4c-2.671 0-5.182 1.040-7.071 2.929-0.364 0.364-0.695 0.751-0.995 1.157 0.358-0.056 0.724-0.086 1.097-0.086z\"><\/path><\/svg><\/span><div class=\"uagb-blockquote__content\">\"Miguel Franco, author of a 'Divertimento' for piano, flute and oboe that was performed by the Debre\u00e7en trio. One notices in him a natural sense for conceiving and knowing how to distribute the music. The work was well liked and very applauded\u201d.<\/div><footer><div class=\"uagb-blockquote__author-wrap uagb-blockquote__author-at-left\"><cite class=\"uagb-blockquote__author\">Octavio de Juan.<br>Diario La Verdad.<br>Murcia.21 de Abril de 1987<\/cite><\/div><\/footer><\/blockquote><\/div>\n\n\n\n<div class=\"wp-block-uagb-blockquote uagb-block-d29e6e60 uagb-blockquote__skin-quotation uagb-blockquote__align-left uagb-blockquote__style-style_2 uagb-blockquote__stack-img-none critic\"><blockquote class=\"uagb-blockquote\"><span class=\"uagb-blockquote__icon\"><svg width=\"20\" height=\"20\" viewbox=\"0 0 32 32\"><path d=\"M7.031 14c3.866 0 7 3.134 7 7s-3.134 7-7 7-7-3.134-7-7l-0.031-1c0-7.732 6.268-14 14-14v4c-2.671 0-5.182 1.040-7.071 2.929-0.364 0.364-0.695 0.751-0.995 1.157 0.357-0.056 0.724-0.086 1.097-0.086zM25.031 14c3.866 0 7 3.134 7 7s-3.134 7-7 7-7-3.134-7-7l-0.031-1c0-7.732 6.268-14 14-14v4c-2.671 0-5.182 1.040-7.071 2.929-0.364 0.364-0.695 0.751-0.995 1.157 0.358-0.056 0.724-0.086 1.097-0.086z\"><\/path><\/svg><\/span><div class=\"uagb-blockquote__content\">\u00abMiguel Franco searches for his own language that adequately combines the evolution of the twentieth century with a very personal vision, eliminating all artificial avant-garde traits to achieve a type of work that communicates, beautiful, and above all with a peculiar atmosphere.\u00bb<\/div><footer><div class=\"uagb-blockquote__author-wrap uagb-blockquote__author-at-left\"><cite class=\"uagb-blockquote__author\">Juan Chup\u00e9.<br>Diario La Verdad, Murcia.<br>21 de Febrero de 1994<\/cite><\/div><\/footer><\/blockquote><\/div>\n\n\n\n<div class=\"wp-block-uagb-blockquote uagb-block-52348627 uagb-blockquote__skin-quotation uagb-blockquote__align-left uagb-blockquote__style-style_2 uagb-blockquote__stack-img-none critic\"><blockquote class=\"uagb-blockquote\"><span class=\"uagb-blockquote__icon\"><svg width=\"20\" height=\"20\" viewbox=\"0 0 32 32\"><path d=\"M7.031 14c3.866 0 7 3.134 7 7s-3.134 7-7 7-7-3.134-7-7l-0.031-1c0-7.732 6.268-14 14-14v4c-2.671 0-5.182 1.040-7.071 2.929-0.364 0.364-0.695 0.751-0.995 1.157 0.357-0.056 0.724-0.086 1.097-0.086zM25.031 14c3.866 0 7 3.134 7 7s-3.134 7-7 7-7-3.134-7-7l-0.031-1c0-7.732 6.268-14 14-14v4c-2.671 0-5.182 1.040-7.071 2.929-0.364 0.364-0.695 0.751-0.995 1.157 0.358-0.056 0.724-0.086 1.097-0.086z\"><\/path><\/svg><\/span><div class=\"uagb-blockquote__content\">\"...the interesting and well-constructed Fantasia-Toccata, by the young Spanish composer Miguel Franco, rich in dynamic contrasts and with the basis of a language of direct and easy communication when played well.\u201d<\/div><footer><div class=\"uagb-blockquote__author-wrap uagb-blockquote__author-at-left\"><cite class=\"uagb-blockquote__author\">Ricardo Honta\u00f1\u00f3n.<br>El Diario Monta\u00f1\u00e9s, Cantabria.<br>3 de diciembre de 1994<\/cite><\/div><\/footer><\/blockquote><\/div>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-uagb-container uagb-block-c304ca64 alignfull uagb-is-root-container\"><div class=\"uagb-container-inner-blocks-wrap\">\n<div class=\"wp-block-uagb-blockquote uagb-block-8bc1a0b6 uagb-blockquote__skin-quotation uagb-blockquote__align-left uagb-blockquote__style-style_2 uagb-blockquote__stack-img-none critic\"><blockquote class=\"uagb-blockquote\"><span class=\"uagb-blockquote__icon\"><svg width=\"20\" height=\"20\" viewbox=\"0 0 32 32\"><path d=\"M7.031 14c3.866 0 7 3.134 7 7s-3.134 7-7 7-7-3.134-7-7l-0.031-1c0-7.732 6.268-14 14-14v4c-2.671 0-5.182 1.040-7.071 2.929-0.364 0.364-0.695 0.751-0.995 1.157 0.357-0.056 0.724-0.086 1.097-0.086zM25.031 14c3.866 0 7 3.134 7 7s-3.134 7-7 7-7-3.134-7-7l-0.031-1c0-7.732 6.268-14 14-14v4c-2.671 0-5.182 1.040-7.071 2.929-0.364 0.364-0.695 0.751-0.995 1.157 0.358-0.056 0.724-0.086 1.097-0.086z\"><\/path><\/svg><\/span><div class=\"uagb-blockquote__content\">\u00abThis Partita No. 2, which Joaqu\u00edn Soriano played splendidly, is virtuosic music with which the pianist seems to enjoy and no less the public, judging by the long ovation that interpreter and author received.\u201d<\/div><footer><div class=\"uagb-blockquote__author-wrap uagb-blockquote__author-at-left\"><cite class=\"uagb-blockquote__author\">Jos\u00e9 Luis Garc\u00eda del Busto.<br>Diario ABC.<br>15 de enero de 1998<\/cite><\/div><\/footer><\/blockquote><\/div>\n\n\n\n<div class=\"wp-block-uagb-blockquote uagb-block-51f4bb77 uagb-blockquote__skin-quotation uagb-blockquote__align-left uagb-blockquote__style-style_2 uagb-blockquote__stack-img-none critic\"><blockquote class=\"uagb-blockquote\"><span class=\"uagb-blockquote__icon\"><svg width=\"20\" height=\"20\" viewbox=\"0 0 32 32\"><path d=\"M7.031 14c3.866 0 7 3.134 7 7s-3.134 7-7 7-7-3.134-7-7l-0.031-1c0-7.732 6.268-14 14-14v4c-2.671 0-5.182 1.040-7.071 2.929-0.364 0.364-0.695 0.751-0.995 1.157 0.357-0.056 0.724-0.086 1.097-0.086zM25.031 14c3.866 0 7 3.134 7 7s-3.134 7-7 7-7-3.134-7-7l-0.031-1c0-7.732 6.268-14 14-14v4c-2.671 0-5.182 1.040-7.071 2.929-0.364 0.364-0.695 0.751-0.995 1.157 0.358-0.056 0.724-0.086 1.097-0.086z\"><\/path><\/svg><\/span><div class=\"uagb-blockquote__content\">\u00ab...in the \"Overture in the form of variations\", opus 58, Miguel Franco once again demonstrated his evident mastery of the secrets of symphonic language.\u201d<\/div><footer><div class=\"uagb-blockquote__author-wrap uagb-blockquote__author-at-left\"><cite class=\"uagb-blockquote__author\">Leopoldo Honta\u00f1\u00f3n.<br>Diario ABC.<br>5 de diciembre de 2001<\/cite><\/div><\/footer><\/blockquote><\/div>\n\n\n\n<div class=\"wp-block-uagb-blockquote uagb-block-a2fedd94 uagb-blockquote__skin-quotation uagb-blockquote__align-left uagb-blockquote__style-style_2 uagb-blockquote__stack-img-none critic\"><blockquote class=\"uagb-blockquote\"><span class=\"uagb-blockquote__icon\"><svg width=\"20\" height=\"20\" viewbox=\"0 0 32 32\"><path d=\"M7.031 14c3.866 0 7 3.134 7 7s-3.134 7-7 7-7-3.134-7-7l-0.031-1c0-7.732 6.268-14 14-14v4c-2.671 0-5.182 1.040-7.071 2.929-0.364 0.364-0.695 0.751-0.995 1.157 0.357-0.056 0.724-0.086 1.097-0.086zM25.031 14c3.866 0 7 3.134 7 7s-3.134 7-7 7-7-3.134-7-7l-0.031-1c0-7.732 6.268-14 14-14v4c-2.671 0-5.182 1.040-7.071 2.929-0.364 0.364-0.695 0.751-0.995 1.157 0.358-0.056 0.724-0.086 1.097-0.086z\"><\/path><\/svg><\/span><div class=\"uagb-blockquote__content\">\u201cIn reality P\u00e1rraga's Cuatro Miradas constitutes a concerto for cello and orchestra of a broad template that is handled with evident fluency by the composer. The work is always listened to with evident pleasure and in more than one respect may be a continuation of the generation of the great masters of Spanish music.\u201d<\/div><footer><div class=\"uagb-blockquote__author-wrap uagb-blockquote__author-at-left\"><cite class=\"uagb-blockquote__author\">Octavio de Juan.<br>Diario La verdad,<br>Murcia.11 de abril de 2004<\/cite><\/div><\/footer><\/blockquote><\/div>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-uagb-container uagb-block-73d35bc5 alignfull uagb-is-root-container\"><div class=\"uagb-container-inner-blocks-wrap\">\n<div class=\"wp-block-uagb-blockquote uagb-block-79123355 uagb-blockquote__skin-quotation uagb-blockquote__align-left uagb-blockquote__style-style_2 uagb-blockquote__stack-img-none critic\"><blockquote class=\"uagb-blockquote\"><span class=\"uagb-blockquote__icon\"><svg width=\"20\" height=\"20\" viewbox=\"0 0 32 32\"><path d=\"M7.031 14c3.866 0 7 3.134 7 7s-3.134 7-7 7-7-3.134-7-7l-0.031-1c0-7.732 6.268-14 14-14v4c-2.671 0-5.182 1.040-7.071 2.929-0.364 0.364-0.695 0.751-0.995 1.157 0.357-0.056 0.724-0.086 1.097-0.086zM25.031 14c3.866 0 7 3.134 7 7s-3.134 7-7 7-7-3.134-7-7l-0.031-1c0-7.732 6.268-14 14-14v4c-2.671 0-5.182 1.040-7.071 2.929-0.364 0.364-0.695 0.751-0.995 1.157 0.358-0.056 0.724-0.086 1.097-0.086z\"><\/path><\/svg><\/span><div class=\"uagb-blockquote__content\">\u00ab\u2026an open author, although with an attentive and sensitive measure of modern languages and at the same time capable of merging them with the taste of instrumental color and characteristic rhythmic games.\u00bb<\/div><footer><div class=\"uagb-blockquote__author-wrap uagb-blockquote__author-at-left\"><cite class=\"uagb-blockquote__author\">Nicola Sbis\u00e0.<br>La Gazzetta del Mezzogiorno.<br>Bari.15 de septiembre de 2007<\/cite><\/div><\/footer><\/blockquote><\/div>\n\n\n\n<div class=\"wp-block-uagb-blockquote uagb-block-e264fc2c uagb-blockquote__skin-quotation uagb-blockquote__align-left uagb-blockquote__style-style_2 uagb-blockquote__stack-img-none critic\"><blockquote class=\"uagb-blockquote\"><span class=\"uagb-blockquote__icon\"><svg width=\"20\" height=\"20\" viewbox=\"0 0 32 32\"><path d=\"M7.031 14c3.866 0 7 3.134 7 7s-3.134 7-7 7-7-3.134-7-7l-0.031-1c0-7.732 6.268-14 14-14v4c-2.671 0-5.182 1.040-7.071 2.929-0.364 0.364-0.695 0.751-0.995 1.157 0.357-0.056 0.724-0.086 1.097-0.086zM25.031 14c3.866 0 7 3.134 7 7s-3.134 7-7 7-7-3.134-7-7l-0.031-1c0-7.732 6.268-14 14-14v4c-2.671 0-5.182 1.040-7.071 2.929-0.364 0.364-0.695 0.751-0.995 1.157 0.358-0.056 0.724-0.086 1.097-0.086z\"><\/path><\/svg><\/span><div class=\"uagb-blockquote__content\">\"... the Chamber Concerto may be the work that best represents the characteristics of a style in which an almost constant glance at the baroque unites with a certainty in the discourse in which the music flows without haste, and always controlled. The fondness for fugatos honors a way of doing that is enriched by an orchestral palette whose originalities obey an innate good taste.\u201d<\/div><footer><div class=\"uagb-blockquote__author-wrap uagb-blockquote__author-at-left\"><cite class=\"uagb-blockquote__author\">Octavio de Juan.<br>Diario La verdad,<br>Murcia.26 de octubre de 2007<\/cite><\/div><\/footer><\/blockquote><\/div>\n\n\n\n<div class=\"wp-block-uagb-blockquote uagb-block-f5a00023 uagb-blockquote__skin-quotation uagb-blockquote__align-left uagb-blockquote__style-style_2 uagb-blockquote__stack-img-none critic\"><blockquote class=\"uagb-blockquote\"><span class=\"uagb-blockquote__icon\"><svg width=\"20\" height=\"20\" viewbox=\"0 0 32 32\"><path d=\"M7.031 14c3.866 0 7 3.134 7 7s-3.134 7-7 7-7-3.134-7-7l-0.031-1c0-7.732 6.268-14 14-14v4c-2.671 0-5.182 1.040-7.071 2.929-0.364 0.364-0.695 0.751-0.995 1.157 0.357-0.056 0.724-0.086 1.097-0.086zM25.031 14c3.866 0 7 3.134 7 7s-3.134 7-7 7-7-3.134-7-7l-0.031-1c0-7.732 6.268-14 14-14v4c-2.671 0-5.182 1.040-7.071 2.929-0.364 0.364-0.695 0.751-0.995 1.157 0.358-0.056 0.724-0.086 1.097-0.086z\"><\/path><\/svg><\/span><div class=\"uagb-blockquote__content\">\u00ab...the work written by Miguel Franco and entitled \"The Triumph of Death\", due to its relation with the Flemish panel made by Pieter Brueghel... an honorable work, no doubt,... forcing us to think about the always tortuous transit of artistic creation. Another way to meditate.\u00bb<\/div><footer><div class=\"uagb-blockquote__author-wrap uagb-blockquote__author-at-left\"><cite class=\"uagb-blockquote__author\">Alberto Gonz\u00e1lez Lapuente.<br>Diario ABC.<br>23 de marzo de 2008<\/cite><\/div><\/footer><\/blockquote><\/div>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-uagb-container uagb-block-219b50ba alignfull uagb-is-root-container\"><div class=\"uagb-container-inner-blocks-wrap\">\n<div class=\"wp-block-uagb-blockquote uagb-block-ea8b272a uagb-blockquote__skin-quotation uagb-blockquote__align-left uagb-blockquote__style-style_2 uagb-blockquote__stack-img-none critic\"><blockquote class=\"uagb-blockquote\"><span class=\"uagb-blockquote__icon\"><svg width=\"20\" height=\"20\" viewbox=\"0 0 32 32\"><path d=\"M7.031 14c3.866 0 7 3.134 7 7s-3.134 7-7 7-7-3.134-7-7l-0.031-1c0-7.732 6.268-14 14-14v4c-2.671 0-5.182 1.040-7.071 2.929-0.364 0.364-0.695 0.751-0.995 1.157 0.357-0.056 0.724-0.086 1.097-0.086zM25.031 14c3.866 0 7 3.134 7 7s-3.134 7-7 7-7-3.134-7-7l-0.031-1c0-7.732 6.268-14 14-14v4c-2.671 0-5.182 1.040-7.071 2.929-0.364 0.364-0.695 0.751-0.995 1.157 0.358-0.056 0.724-0.086 1.097-0.086z\"><\/path><\/svg><\/span><div class=\"uagb-blockquote__content\">\u00abWith his Passacaglia, Miguel Franco once again surprised us with the solidity of his workmanship and at the same time the intrinsic attractiveness\nof his work, which places its author in the first row of the contemporary Spanish musical panorama, on a par with names perhaps more widely known but certainly not better.\u201d<\/div><footer><div class=\"uagb-blockquote__author-wrap uagb-blockquote__author-at-left\"><cite class=\"uagb-blockquote__author\">F. Javier Santos.<br>Diario ABC.<br>1 de marzo de 2009<\/cite><\/div><\/footer><\/blockquote><\/div>\n\n\n\n<div class=\"wp-block-uagb-blockquote uagb-block-d35dd452 uagb-blockquote__skin-quotation uagb-blockquote__align-left uagb-blockquote__style-style_2 uagb-blockquote__stack-img-none critic\"><blockquote class=\"uagb-blockquote\"><span class=\"uagb-blockquote__icon\"><svg width=\"20\" height=\"20\" viewbox=\"0 0 32 32\"><path d=\"M7.031 14c3.866 0 7 3.134 7 7s-3.134 7-7 7-7-3.134-7-7l-0.031-1c0-7.732 6.268-14 14-14v4c-2.671 0-5.182 1.040-7.071 2.929-0.364 0.364-0.695 0.751-0.995 1.157 0.357-0.056 0.724-0.086 1.097-0.086zM25.031 14c3.866 0 7 3.134 7 7s-3.134 7-7 7-7-3.134-7-7l-0.031-1c0-7.732 6.268-14 14-14v4c-2.671 0-5.182 1.040-7.071 2.929-0.364 0.364-0.695 0.751-0.995 1.157 0.358-0.056 0.724-0.086 1.097-0.086z\"><\/path><\/svg><\/span><div class=\"uagb-blockquote__content\">\u201cIn the tradition of the best ancient (Bach) and modern (Webern) passacaglie, the young double bassist and composer offered our orchestra a work of height: timbrally attractive, formally elaborated and, harmonically, by equally modern and rooted in tradition... This type of musical language, which some call \"biensonant\" as opposed to radical avant-garde or \"avant-garde without an audience\u201d.<\/div><footer><div class=\"uagb-blockquote__author-wrap uagb-blockquote__author-at-left\"><cite class=\"uagb-blockquote__author\">Antonio Torralba,<br>El D\u00eda de C\u00f3rdoba.<br>2 de marzo de 2009<\/cite><\/div><\/footer><\/blockquote><\/div>\n\n\n\n<div class=\"wp-block-uagb-container uagb-block-70676a20\"><\/div>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-uagb-container uagb-block-c322ad85 alignfull uagb-is-root-container\"><div class=\"uagb-container-inner-blocks-wrap\">\n<div class=\"wp-block-uagb-container uagb-block-2a1680f9\">\n<div class=\"wp-block-uagb-info-box uagb-block-38da9230 uagb-infobox__content-wrap  uagb-infobox-icon-above-title uagb-infobox-image-valign-top\"><div class=\"uagb-ifb-content\"><div class=\"uagb-ifb-title-wrap\"><h2 class=\"uagb-ifb-title\">Do you like my work?<\/h2><\/div><p class=\"uagb-ifb-desc\">If you liked my work and want to buy any of my pieces, contact me through the contact form. Likewise, you can contact me for anything else.<\/p><div class=\"uagb-ifb-button-wrapper wp-block-button\"><a href=\"https:\/\/miguelfranco.net\/en\/contacto\/\" class=\"uagb-infobox-cta-link wp-block-button__link\" target=\"_self\" rel=\"noopener noreferrer\" onclick=\"return true;\"><span class=\"uagb-inline-editing\">Go to contact<\/span><\/a><\/div><\/div><\/div>\n<\/div>\n<\/div><\/div>","protected":false},"excerpt":{"rendered":"<p>Critic<\/p>","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_uag_custom_page_level_css":"","site-sidebar-layout":"no-sidebar","site-content-layout":"","ast-site-content-layout":"full-width-container","site-content-style":"unboxed","site-sidebar-style":"unboxed","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"disabled","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"enabled","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"set","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"class_list":["post-2749","page","type-page","status-publish","hentry"],"uagb_featured_image_src":{"full":false,"thumbnail":false,"medium":false,"medium_large":false,"large":false,"1536x1536":false,"2048x2048":false,"trp-custom-language-flag":false},"uagb_author_info":{"display_name":"admigfra","author_link":"https:\/\/miguelfranco.net\/en\/author\/admigfra\/"},"uagb_comment_info":0,"uagb_excerpt":"Cr\u00edtica","_links":{"self":[{"href":"https:\/\/miguelfranco.net\/en\/wp-json\/wp\/v2\/pages\/2749","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/miguelfranco.net\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/miguelfranco.net\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/miguelfranco.net\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/miguelfranco.net\/en\/wp-json\/wp\/v2\/comments?post=2749"}],"version-history":[{"count":30,"href":"https:\/\/miguelfranco.net\/en\/wp-json\/wp\/v2\/pages\/2749\/revisions"}],"predecessor-version":[{"id":3070,"href":"https:\/\/miguelfranco.net\/en\/wp-json\/wp\/v2\/pages\/2749\/revisions\/3070"}],"wp:attachment":[{"href":"https:\/\/miguelfranco.net\/en\/wp-json\/wp\/v2\/media?parent=2749"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}