{"version":"1.0","provider_name":"Swiss Music Review","provider_url":"https:\/\/www.revuemusicale.ch\/en","author_name":"Jean Damien Humair","author_url":"https:\/\/www.revuemusicale.ch\/en\/author\/jean-damien-humair","title":"Num\u00e9ro 4\/2026 \u2013 focus \u00ab\u00a0g\u00e9n\u00e9rations\u00a0\u00bb - Revue Musicale Suisse","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"78HNclhZki\"><a href=\"https:\/\/www.revuemusicale.ch\/en\/smz\/2026\/08\/numero-4-2026-focus-generations\">Issue 4\/2026 \u2013 \u00abGenerations\u00bb Special Feature\u00bb<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/www.revuemusicale.ch\/en\/smz\/2026\/08\/numero-4-2026-focus-generations\/embed#?secret=78HNclhZki\" width=\"600\" height=\"338\" title=\"&#8220;Num\u00e9ro 4\/2026 \u2013 focus \u00ab\u00a0g\u00e9n\u00e9rations\u00a0\u00bb&#8221; &#8212; Revue Musicale Suisse\" data-secret=\"78HNclhZki\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script>\n\/*! This file is auto-generated *\/\n!function(d,l){\"use strict\";l.querySelector&&d.addEventListener&&\"undefined\"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!\/[^a-zA-Z0-9]\/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret=\"'+t.secret+'\"]'),o=l.querySelectorAll('blockquote[data-secret=\"'+t.secret+'\"]'),c=new RegExp(\"^https?:$\",\"i\"),i=0;i<o.length;i++)o[i].style.display=\"none\";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute(\"style\"),\"height\"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):\"link\"===t.message&&(r=new URL(s.getAttribute(\"src\")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener(\"message\",d.wp.receiveEmbedMessage,!1),l.addEventListener(\"DOMContentLoaded\",function(){for(var e,t,s=l.querySelectorAll(\"iframe.wp-embedded-content\"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute(\"data-secret\"))||(t=Math.random().toString(36).substring(2,12),e.src+=\"#?secret=\"+t,e.setAttribute(\"data-secret\",t)),e.contentWindow.postMessage({message:\"ready\",secret:t},\"*\")},!1)))}(window,document);\n\/\/# sourceURL=https:\/\/www.revuemusicale.ch\/wp-includes\/js\/wp-embed.min.js\n<\/script>","thumbnail_url":"https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2026\/08\/SMZ_online_Cover_4_26.jpg","thumbnail_width":1375,"thumbnail_height":1000,"description":"Table des mati\u00e8res Focus A cheval entre deux g\u00e9n\u00e9rations Interview. Ilva Eigus \u00e9tait d\u00e9j\u00e0 consid\u00e9r\u00e9e comme une star alors qu\u2019elle \u00e9tait encore mineure. N\u00e9e en 2007 \u00e0 Zurich, elle nous confie comment elle s\u2019entend, dans son m\u00e9tier, avec des musiciens d\u2019orchestre plus \u00e2g\u00e9s et un public aux cheveux grisonnants \u2013 ainsi qu\u2019avec son p\u00e8re et [&hellip;]"}