"Giuseppe Verdi's opera conducted by an expert Verdian conductor. And the world of “courtiers” revolves around Gagnidze's voice.” "The poisoned world of ‘courtiers, vil razza dannata’ revolves around him, but he is the one who makes the scene-world revolve. And let us praise the Rigoletto of baritone George Gagnidze, Georgian, powerful, compelling, imposing Falstaff-like physique yet highly agile, mimetic, direct, ruthless, and broken. And what does it matter that he exhibits no mountainous humps or right-angle posture? His “diversity” is riveting and deadly. For everyone. He is a hypnotic “singing actor.” Gagnidze shows excellent declamation and phrasing and a remarkable word command. And all this is much more than a corollary to his expressive and happily “bulky” physicality that reminds one in no small part of Ambrogio Maestri, an immense exponent of the highest craftsmanship of theater in music.” “The magnificent “father” (of Gilda, ed.) Gagnidze!” Carmelita Celi, La Sicilia

On the occasion of his debut at the Teatro Massimo Bellini of Catania, George Gagnidze spoke with the largest Sicilian newspaper, La Sicilia:

“George Gagnidze as Baron Scarpia is Haunting” “OperaWire reported back in January 2023 about George Gagnidze singing his 100th performance of Scarpia in “Tosca” on Jan. 21, 2023. In a statement, Gagnidze said, “The role of Scarpia has been having a great impact on my entire career. Almost 20 years ago, I made my debut in this thrilling part when I was a member of the company of the Osnabrück Opera in Germany. I feel very privileged to have since then had the honor to perform this character on so many great stages and with some of the best conductors. Even though ‘Tosca’ is one of Puccini’s most popular and most performed operas, I think it is also one of these eternal masterpieces one can see on stage countless times and every single time it is gripping. For us singers it is the same on stage, and my 100th performance on Saturday at the Gran Teatre del Liceu will certainly be as thrilling for me as the previous 99 shows.” The Met Opera’s choice, for this season, to pair Gagnidze with Aleksandra Kurzak was an excellent decision. Gagnidze’s baritone is bone-chilling good. His voice rattles the soul and definitely caused a stir in Kurzak’s soprano during the “Tosca’s kiss” scene. Realizing Gagnidze’s greatness in this role is easy, however, recognizing the how deeply his castmates resonate with his performance is an infinite process. This is something I am still thinking about today. Gagnidze’s voice and presence as Scarpia is timeless, leaving zero doubt about how much he has processed this role beforehand. But, there is also a newness in his portrayal, especially as he is attacking Tosca and not expecting her “kiss.” Gagnidze has a gift for staying in the present moment and not getting ahead of himself. He is also (as I wrote above about Kurzak as Tosca) verismo personified. His aria, “Va, Tosca! Nel tuo cor s’annida Scarpia”, at the end of Act one with the Met Opera Chorus (celebrating a religious mass procession at stage right) and the orchestra including bell tolls, the newly restored Æolian-Skinner pipe-organ, and two canons, is absolutely my favorite moment in this production and with this particular cast. Gagnidze’s voice is breathtaking and terrifyingly honest as his Scarpia promises to “dig a nest in Tosca’s heart.” I could listen to this single moment again and again, the chorus was fantastic and the pipe-organ roared. Scarpia’s aria in Act two, “Tosca è un buon falco!”, resonated in Gagnidze’s voice as he contemplated exactly how to trap Tosca, busying himself about his Palazzo Farnese. The light fell gently in through the window behind him, illuminating his evil plot and realizing the graveness of his existence. Gagnidze voices Scarpia’s plan with fortitude and frivolousness. His plan’s exactness lacks love and therefore opens the gates of hell to devour him whole. Gagnidze dives headfirst into Scarpia’s insanity. This is more than just evil or satanic, Gagnidze was made for this role. This is verismo at its finest!” Jennifer Pyron, Operawire