Review
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13.07.2018
Otello – La Phil At Hollywood Bowl 2018
“Baritone George Gagnidze gave the finest singing as Iago, more sardonic than demonic perhaps, but always dramatic and true to character – a singer-actor with exemplary diction and fluid belcanto style. A huge man with a huge voice, Gagnidze was the only singer in the cast who actually tried to sound small and nimble.”
Truman C. Wang, Classical Voice
“Throughout the performance Gagnidze took delight in spinning his sinister plots, planting seeds of jealousy and mistrust, and serving the evil god he worships. His duets with Thomas, particularly the rousing Act III climax, were memorable.”
Jim Farber, San Francisco Classical Voice
“Iago can easily come across as a two-dimensional villain. But Gagnidze’s Iago was leavened by a humor that was a delight to experience (if that is not too weird a concept when talking about a villain). “Suave” and “ingratiating” are two of the comments I marked on my copy of the program. Gagnidze’s snigger at the end of “Credo in un Dio crudel” was a much better alternative to the demonic laugh which many baritones employ at the end of this number, undermining the serious darkness of Iago’s bleak view of life. His highly plosive’ “p’s” on the words “E poi? (i.e. “What next?” when considering the void after death)” were almost insolent toward the audience. And even though Iago and Otello have different voice-types, Gagnidze and Thomas came together in such unanimity in the second-Act finale, “Sì, pel ciel marmoreo giuro” that I couldn’t easily tell their timbres apart – aptly underscoring, to my mind, the fact that Otello had come across to Iago’s view of his wife.”
Gordon Wlliams, Operawire
“Likewise, George Gagnidze’s depraved Iago easily upstaged his Otello. Laughter borne from the blackest pits of the human heart, the cackling of evil incarnate, animated his splendid characterization.”
Néstor Castiglione, Bachtrack
Review
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07.06.2025
Première Loge interview: « J’aborde Verdi avec vénération et le plus grand respect… »
George Gagnidze recently spoke with Première Loge about his deep connection to Verdi and Rigoletto, the role he is currently singing at the Opéra national de Paris. The interview touches on his artistic journey, future projects, and his interpretation of one of opera’s most iconic characters.
Review
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01.04.2025
Interview with Appreciate Opera
George Gagnidze was interviewed by Alkis Karmpaliotis for the US publication Appreciate Opera. Below you will find a preview of the feature. To read the whole interview, you may click HERE.
Review
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20.03.2025
Interview for YouTube channel Kontextus
While in Budapest, George Gagnidze had a chat with the Hungarian YouTube channel Kontextus about his career, singing Verdi and Macbeth at the Hungarian State Opera:
Review
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01.03.2025
Interview with Bartók Radio Budapest
Before making his debut at the Hungarian State Opera in the title role of a new production of Macbeth, George Gagnidze spoke with József Bazsinka of Bartók Radio. Listen to the interview here:
Review
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15.11.2024
George Gagnidze is a “powerful, compelling, imposing” Rigoletto in Catania
"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
