Review

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20.01.2024

“George Gagnidze excelled” as Nabucco in Live in HD from the MET

Reviews are out for the Live in HD performance of Nabucco from the Metropolitan Opera starring George Gagnidze in the title role:

“But the titular character is Nabucco, and baritone George Gagnidze excelled. The part plunges into madness and back again, in the process converting Nabucco from despot (even Jehovah fears him, he thinks in the first act) to Jehovah-convert. Gagnidze has both vocal and dramatic needs to convey all of this, not just convincingly, but poignantly. He matched and perhaps just overtook the psychological angst of the great Leo Nucci in Daniele Abbado’s production (also with Monastyrska) at Covent Garden in 2013, review here).”
Colin Clarke, Seen and Heard International

“The title role is sung by George Gagnidze. His voice is vibrant and sonorous, and his secure vocal line has no problem getting through the speakers. He knows how to find the bite appropriate to Verdi’s style and the personality of his character. Quite convincing in the authoritative, despotic part of his role, with more declamatory passages, he is even more so in his moments of distress and vulnerability, where he finds touching piani nuances.”
Timothé Bougon, Ôlyrix

“Baritone George Gagnidze gives an outstanding performance as the arrogant king Nabucco who goes from sheer hubris (I am a god), to a brief mad scene, to a gentle convert to Judaism. A superb performance throughout.”
James Karas, Reviews and Views

“George Gagnidze has a fine Verdi style baritone voice. He sang with focus and sensitivity.”
Neil Kurtzman, Medicine Opera

“From this point of view, Nabucco gives a major role to the chorus, and this was the work to choose to underline this achievement. But Nabucco can also be nipped in the bud if the cast, led by an experienced or authoritative conductor (which was the case with Daniele Callegari), does not at least rest on a very solid Nabucco-Abigaille pairing. Fortunately, this was the case with Georgian baritone George Gagnidze and Ukrainian soprano Liudmyla Monastyrska…”
Christophe Huss, Le Devoir

 

 

 

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

Review

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30.10.2024

Interview with 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:

Review

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25.10.2024

Press review “Tosca”, Metropolitan Opera 2024

“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

Review

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27.07.2024

Interview Platea Magazine: “Verdi siempre ha sido mi compositor favorito”

El barítono de origen georgiano George Gagnidze es bien conocido en nuestro país por sus notables interpretaciones de roles de Verdi y Puccini, singularmente. El próximo domingo 4 de agosto, el XVI Festival Lírico Ópera Benicàssim acogerá un recital en solitario con su voz, acompañado al piano por José Manuel Frasquet.

Review

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27.06.2024

“George Gagnidze is outstanding as Shaklovity” in Berlin

Reviews are brilliant for the new production of Khovanshchina and George Gagnidze's Shaklovity at the Staatsoper Unter den Linden: