It’s ironic that one would have to go to Montreal to hear a fine mainstage production of an English-language opera — and one whose cast is populated by English Canadians.

In our latest episode of the equally feared and loved MT Questionnaire, rising young soprano Alexandra Smither shares her most intimate confessions, such as why she wishes she could whistle, and her affinity for the Hamster Dance.

Two actors (Derek Boyes and Arlene Mazerolle), an historically informed dancer (Marie-Nathalie Lacoursière), six singers and eight instrumentalists do Purcell’s creations justice in a carefully crafted programme that lasts 2-1/2 hours with the intermission.

Make no mistake, Alden’s interpretation of Johann Strauss Jr’s most popular comic operetta — one long accepted on fine, serious opera stages everywhere — has a great concept, a brilliant set design by Allen Moyer, Constance Hoffman’s colourful costumes and some of the finest operatic lighting (by Paul Palazzo) that I’ve seen in a long time.

Singers from around the world are being asked to submit videos for an innovative opera co-production involving Against the Grain Theatre, Opera Columbus, and the Banff Centre for Arts and Creativity.

The title role will be taken by American tenor Anthony Dean Griffey, who sang the dress rehearsal on Wednesday night.

Although he had retired from singing in 1992, for years afterward he continued to conduct and offer master classes, sharing a lifetime of insights with younger singers.

Welcome to the age of social media.

On the occasion of his North American debut, the Swiss tenor shares his thoughts on singing Mozart, hiking in the mountains, and Roger Federer.

Faced with unfavourable reviews from Toronto’s critics for the Canadian Opera Company’s last production of the season, Handel’s Semele, the general director turned to Brooklyn Academy of Music executive producer Joe Melillo for solace, twice tweeting his assessment that, “The production is a sensational artistic achievement.”