La Boheme is being presented at the Redwood Theatre on Friday September19th 8:00 p.m., a co-production with The Redwood Theatre in Support of Daily Bread Food Bank.

I talked to Alexander Hajek who sings the role of Marcello the painter.

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Barczablog: La boheme is often spoken of as a comedy with a tragic ending. Do you think of boheme as more comic or more tragic? 

Alexander Hajek: Well it certainly ends tragically ( not to spoil things of course ) but I’m not sure I’d classify it as either. It’s really the perfect opera because it has such high and low brow moments woven throughout.  Some of the funny lines are quite tragic and even the cutest moments have a tinge of foreshadowed tragedy.

BB: Do we maybe need to dispense with genres, when they confuse us?

Alexander Hajek: No, it’s nice to give opera newbies a little heads up.  No one wants to be locked in their seat for 3 hours waiting for a laugh that never comes.

To quote Peter Griffin:

“For the love of god, someone throw a pie already!”

BB: Do you sing the same whatever the genre?

Alexander Hajek: Genres should influence the colour of your sound a tad. If it’s a joke, usually the text is more important and should be more emphasized, but if it’s a swelling romantic moment where multiple people are singing, different text over one another, maybe go for a richer fuller sound to get “the vibe” across.

BB: Imagine you’re Marcello tormenting Benoit in Act I (comedy) or watching Mimi dying, reacting to her situation (tragic). You may want to react, laughing at the joke or even crying at the tragedy: but have to stay in character, to make the comedy or tragedy work. What strategies do you use to stay in character, to keep your focus?

Alexander Hajek: This I find easy, just stay in the moment by pretending you’re hearing Benoit demand the rent for the very first time. And. In turn. Feel as if the text and music you respond to then is something that just popped in your head as a quick witted response on why you shouldn’t have to pay. It’s remarkably effective.

The trap is waiting to just sing your line after they’re finished. It deadens the drama. Keep it fresh.

BB: The public perception of roles will usually focus on a big aria. When you’re learning how to sing especially the arias are a great starting point. But they aren’t necessarily the toughest parts of your role either vocally or dramatically. What part of your role is toughest?

Alexander Hajek: As Marcello uniquely does NOT have an aria.  I had to find the most dramatic moment for him and make one out of it. This is either his second act showdown with Musetta or his third act duets with Mimi. They have some of his most gorgeous music and I try and make a meal out of them.

The toughest part of the role is not letting my simmering anger ( either as a jealous lover, or highly annoyed roommate ) not constrict the voice. It’s easy to get carried away by the heightened drama of a Puccini score and forget to keep the instrument fluid and free.

BB: Using La Boheme as a fundraiser for the food bank seems like a natural. Are there any particular lines of your role or of anyone else onstage, where you are reacting to the challenges of life (as Marcello or Mimi) that you would highlight, that we should notice?

Alexander Hajek: The “starving artist” bohemian lifestyle is absolutely front and center. It informs everything the characters do and ultimately causes the death of Mimi. If they had funds then the tragedy of the opera wouldn’t happen. So every little joke is really foreshadowing how poverty can kill you. If their apartment had adequate fuel for heat, or if any of them had a steady job then they could buy medicine or afford a trip to the doctor.  But they don’t.

I guess my favorite lines are in the 4th act when the gents are pretending the few pieces of stinky fish and stale bread for dinner are actually “tongue of penguin” and “the finest champagne in France.” They are wonderfully optimistic and a cheerful bunch.

BB: La boheme is one of the most popular operas of all a great first opera, a terrific opera for people who don’t know opera.  Why do you think that’s the case?

Alexander Hajek: It’s not too long and there are no wasted moments. Each scene feels full and captivating but doesn’t drag on forever. The 4th act is only about 30 min and has about 4 sections in it with rapid shift in mood. It’s kindda perfect for peoples’ attention spans these days.  And the music is perfect. Everyone gets a leit motif and is immediately accessible. It’s not a score you need to study before hand or hear 20 times to get the subtle nuances. It just bathes you in beautiful western melodies all night.

BB: What do you have coming up?

Alexander Hajek: My most ambitious project is coming up Nov 26th. Opera Revue is having their 4th gala and they have hired some professional wrestlers to help put on another unforgettable show. It was hard to top last years circus themed night with highflying trapeze and dogs jumping through flaming hoops.  But we’ve added Queen Hezumuryango as our special guest as well. It’ll be at the Great Hall and will not be something you want to miss.

In addition Opera Revue with be performing at the Four Seasons Centre for the first time on Oct 14th. And it’s free to attend.

My first Carmina Burana will be with the Toronto Beach Chorale in April 26.
(Click for tickets & info)

And I will have my first Don Giovanni in a while with the Hamilton Philharmonic,
Ancaster Memorial Arts Centre
357 Wilson St E.

Saturday, February 7, 2026 – 7:30 PM
in partnership with COSA Canada
James Kahane is Conductor
(tickets & information)

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But first, Alexander Hajek will sing Marcello as part of La Boheme On Tap Friday 8 pm September 19th at the Redwood Theatre, 1300 Gerrard St East. Tickets start at $50.00. Click for info & tickets.
Use code BOHEMEONTAP for $10 off.