Andrew Haji is one of the most sought-after lyric tenors whose effortlessly transcendent voice has been described as “bright yet warm, mellifluous yet ringing, used with grace and all the requisite legato lines,” and “few have the lyric beauty and carrying power that Haji has.” The renowned Canadian lyric tenor is celebrated on concert and operatic stages with his musical rapture and silky clarion vocal prowess.

In the 2025-26 season, the Canadian tenor makes his debuts with the Boston Symphony Orchestra in Beethoven’s Ninth, Boston Baroque in Haydn’s Lord Nelson Mass, and will return to the Seattle Symphony, the Cleveland Orchestra and Edmonton Symphony in Handel’s Messiah, Toronto Symphony Orchestra in Orff’s Carmina Burana, Violons du Roy in Mozart’s Requiem and San Francisco Symphony in Bach’s Easter Oratorio.

Recent orchestral engagement highlights throughout the United States and Canada include Haydn’s Mass in Time of War with the Chicago Symphony Orchestra and conductor Manfred Honeck, Bach’s Easter Oratorio with the Cleveland Orchestra and Bernard Labadie, Handel’s Messiah with Houston Symphony, St. John Passion with Seattle Symphony and Orchestra of St Luke’s at Carnegie Hall, Mozart’s Requiem with the Kansas City Symphony, Beethoven’s Ninth with Milwaukee Symphony and National Arts Center Orchestra, Bach Cantatas with Montreal Symphony, Haydn’s The Seasons with Handel and Haydn Society, Haydn’s The Creation with Toronto Symphony Orchestra, Verdi’s Requiem at the Royal Conservatory of Music in Toronto, Bruckner’s Te Deum with the Calgary Philharmonic Orchestra, and Orff’s Carmina Burana at the Elora Festival. In Europe, Haji has performed with the English Concert, at the Salzburg Festival, Dresdner Philharmonie and NDR Philharmonie. Mr. Haji has performed with conductors including Bernard Labadie, Jonathan Cohen, John Butt, Rafael Payare, and Alexander Shelley.

Notable opera successes include the title role in Mozart’s La Clemenza di Tito, Tamino in Mozart’s Die Zauberflöte, Alfredo in Verdi’s La Traviata, Nemorino in Donizetti’s L’elisir d’amore, Rinuccio in Puccini’s Gianni Schicchi, Ferrando in Mozart’s Cosi fan tutte, Rodolfo in Puccini’s La bohème, and Cassio in Verdi’s Otello at Canadian Opera Company, Macduff in Verdi’s Macbeth and Pollione in Bellini’s Norma at Calgary Opera, Rodolfo in Puccini’s La bohème with Montreal’s Orchestre Philharmonique et Choeur des Mélomanes and Edmonton Opera, Jonathan in Handel’s Saul at Edinburgh International Festival, Nemorino in Donizetti’s L’elisir d’amore at National Kaohsiung Center for the Arts in Taiwan, Don Ottavio in Mozart’s Don Giovanni at National Arts Center in Ottawa, Alfredo in Verdi’s La traviata with the Vancouver Opera, Alfredo in Strauss’s Die Fledermaus with Saskatoon Opera and the title role in Mozart’s La Clemenza di Tito with Pacific Opera Victoria.

During the 2020-21 season amidst the Covid-19 pandemic, Andrew starred in various digital and streaming productions including Holst’s Sāvitri for Against the Grain Theatre, Rinuccio in Puccini’s Gianni Schicchi and Mozart’s Requiem both for the Canadian Opera Company, and finally returning to the stage as Count Almaviva in Rossini’s Il barbiere di Siviglia with Opéra de Québec.

Haji is an alumnus of the Canadian Opera Company’s Ensemble Studio. He has received awards from the Marilyn Horne Song Competition, the Canadian Opera Company Ensemble and was awarded the Grand Prix at the 50th International Vocal Competition in ‘s-Hertogenbosch, Netherlands, and the Oratorio Prize at the Montreal International Music Competition. Andrew received a Bachelor’s and a Master’s degree from the University of Toronto’s Faculty of Music where he performed in productions of Poulenc’s Les mammeles de Tirésias, Mozart’s Don Giovanni, Bernstein’s Candide, and Haydn’s Il mondo della luna, among others. He was invited to participate in young artist programs at the Salzburg Festival Young Singers Project, the Centre for Opera Studies in Italy, the Music Academy of the West and Accademia Europea dell’Opera.

“His performance as Tito was a revelation—his vocal strength combined with magnetic stage presence made the character come to life in a visceral way.”

Miles Linklater, Opera Magazine (La clemenza di Tito, Pacific Opera Victoria, 2024)

“Andrew Haji was the production’s Pollione, whose clear lyric tenor easily rose to the heights in those soaring passages in which his music abounds. While there are a number of operatic tenors on the Canadian scene, few have the lyric beauty and carrying power that Haji has. Technically secure, he had no difficulty with the extremely difficult music he has to sing, and he was an excellent vocal match for the two women.”

Kenneth DeLong, Calgary Herald (Norma, Calgary Opera, 2020)

“The singer who inhabited his role most naturally was Haji. He played Nemorino earnestly, not for laughs, and the laughs came easily. He delivered one of the most famous tenor arias of all time, Una furtiva lagrima, smoothly and without fuss.”

Lydia Perovic, The Globe and Mail (L’elisir d’amore, Canadian Opera Company, 2017)

“The moment signified the earliest moment in this opera that I have ever burst into tears before. […] Haji has a tone that is perfectly Italianate, very musical and yet seemingly effortless.”

Leslie Barcza, barczablog (La traviata, Canadian Opera Company, 2015)

“Tenor Andrew Haji […] brings his beautiful, bright, sweet, and aristocratic lyric tenor to Alfredo. […] He’s also a very fine actor, moving well on stage and offering a most ardent and endearing characterization. He’s a singer who’s going places.”

Joseph So, Musical Toronto (La traviata, Canadian Opera Company, 2015)

“Haji has a glorious tenor, bright, clarion, sweet, rich, always used with musicality and discerning taste. To sum it up in a few words, his singing on this occasion was marvelous.”

Joseph So, La Scena Musicale (Dichterliebe, 2015)

“His voice sounded flexible and easy throughout, and most importantly, he sang with an honest sound. […] He spoke each word as though it were happening to him at that moment. […] Whatever Haji was thinking about during that gorgeous final piano postlude, it was stunning to watch.”

Jenna Simeonov, Schmopera (Dichterliebe, 2015)

“Act 1’s Andrew Haji has an expressive voice as smooth as silk, replete with Italianate sob. It is a beautiful light sound blessed with an even legato flow.”

Paula Citron (Così fan tutte, Canadian Opera Company, 2014)