Measha Brueggergosman has been steadily giving concerts in Vancouver, Oslo and St. Catharines, Ontario, before a full return to the Toronto Symphony this week.

The soprano has survived a stroke and heart attacks over the past decade.

‘It’s not the first time I’ve rebuilt the voice,’ she said. ‘It’s to me a very exciting prospect because I get to know ‘her’ — my voice is a female. She’s very taciturn, but also stalwart and very loyal.’

The Shalva ensemble is made up of musicians with disabilities.

A day after the premiere of Orlando, the Austrian composer has been awarded the national order for science and art: Österreichischen Ehrenzeichen für Wissenschaft und Kunst.

The school, which has a checkered past, has made a clean sweep at the top.

The pianist Ashley Wass is to be head of music, replacing Oscar Colomina i Bosch who lasted just two years.

The new head teacher is Ben Gudgeon.

The violinist Tasmin Little will be joint president, together with the absentee Daniel Barenboim.

Much fuss has been made around Olga Neuwirth’s Orlando as being the first opera composed by a woman to be staged at the Vienna State Opera.

It isn’t.

The house shop is busily selling this children’s opera, also by a woman composer.

That caveat aside, how was last night’s world premiere?

Our chap in the stalls says it went, over two and a half hours, from ‘spectacularly irritating’ to a ‘frankly irritating’ female lecture. But then he’s a chap.

The only reviews out so far, in Kurier, reports that is ends in platitudes but the applause was ‘surprisingly benevolent’.

Another chap.