Press

"Singing the role of police chief Scarpia, one of opera's most loathsome villains, baritone George Gagnidze from Tbilisi, Georgia was in chillingly good voice."

Lee Lowenfish Blog 

"His Rigoletto was a portrayal of both mockery and satire, as a jester in a suit of motley, and pathos, as an outcast hovering on the fringes of noble society, whose deep love for his daughter makes him, ultimately, a sympathetic character.“ 

J. Robin Coffelt, Texas Classical Review

“The performances of Pretty Yende as Violetta Very, Valeria Girardello (Flora Bervoix), Daniela Mazzuccato (Annina), Francesco Demuro (Alfredo Germont), George Gagnidze (Giorgio Germont),(...) were flawless“ 

Luisa Del Prete, Informare online 

“George Gagnidze sang Nabucco (…) He benefited from the natural darkness of his timbre (…)  He interpreted his role in a coherent way.”
Mario Muñoz, Opera Áctual
 

“The Georgian baritone George Gagnidze played Nabucco and conveyed with his powerful voice the superb character of the king passing through madness and regret.”
Norma Sturniolo, ACPI 

 

[Photo: Javier del Real]

“And George Gagnidze, who answers the call everywhere for his stalwart father figure Amonasro, more than accomplished the task.”   

Donna Perlmutter, LA Tempo

 

“Tenor Russell Thomas (Radames), Melody Moore (Amneris), Morris Robinson (Ramfis), Peixin Chen (King) and George Gagnidze (Amonasro) all earned enthusiastic appreciation from the audience.”   

Julie Riggott, Culture Spot LA  

  

“Verdi, in the hands of the incomparable James Conlon as conductor and a stellar cast, continues to remind us why Aida remains the quintessential opera we’ve come to love.”  

Victor Riobo, Indulge Magazine  

“Gagnidze interprets a Scarpia successfully present in the Act I finale, (…) disciplined and with a pleasant legato.” 

Stefano Valanzuolo, Il Mattino 

 

“George Gagnidze, Scarpia, is very convincing, very noble in his phrasing, far from any vulgarity that “tradition” has imposed over the years. His voice runs secure over a flawless ligne du chant and his acting is self-restrained, albeit within in its mandatory imperiousness.” 

Teresa Mori, Roma 

 

“...the Georgian baritone, with his powerful and limpid voice, perfectly manages to keep a balance between the slimy vulgarity of the “bigot satyr” and the icy determination of the chief of the papal police.” 

Fabio Larovere, Connessi all’Opera  

“Gagnidze, a newcomer to this production, took over the December Scarpias when Evgeny Nikitin canceled them just ahead of the dress rehearsal, and he gave a well-voiced, well-practiced account of the role.�  

Patrick Dillon, Opera Canada 

 

“Replacing an ailing Yevgeny Nikitin, Gagnidze was a fine Scarpia, imposing but not hammy. There was an inner life and drive to his singing as well, and this showed in contrast in his scenes with Jagde. While the tenor continued to outline his part, even in the crucial Act 2 confrontation, Gagnidze embodied the character’s sociopathic assurance. Scarpia sees Tosca as a social inferior that he can manipulate and dominate, and Gagnidze carried off that elitist disdain in his singing, with a bit of bravado and self-involvement.�   

George Grella, New York Classical Review 

 

“As a late replacement for Evgeny Nikitin, George Gagnidze holds more than his own as the voluptuary sadist Scarpia, the part he had already been slated to take on in the MET’s January 2022 run of the opera. With his burly bass-baritone and hefty stage presence, he most effectively conveys the villain’s maniacal malevolence as well as his aristocratic arrogance.�  

Susan Stempleski, Classical Source 

 

“An Imposing Scarpia  

The role of Scarpia that evening was played by George Gagnidze, covering for Evgeny Nikitin. From his entrance amidst the churchgoers he struck an imposing figure, swiftly questioning the sacristan while backed by croaking bassoons, before coldly turning his sights on Tosca. This false affection was not heard so much vocally, but was seen through Gagnidze’s gestures and bearing; as he set Tosca off to find Cavaradossi, he began to reveal his possessive side as he hugged her, kissed her hand, then clutched at her scarf before finally letting her go. This emerging malice was explored in greater detail in his rendition of the “Te Deum,� which ran the gamut from hushed scheming to a sinister outpouring as the chorus gathered and built a vocal and visible camouflage.   

His lines rang rich with hostility as he opened Act two with “Ha piu forte sapore,� in fine contrast with the relaxed and stately feel of the orchestra as Scarpia laid out his desires. While he held the power through most of the act, he made nice use of oilier tones as he propositioned Tosca, and his aggression built towards his fatal stabbing.�  

Logan Martell, OperaWire 

 

“Baritone bass George Gagnidze replaced Russia's Evgeny Nikitin at the last minute, who canceled due to illness. Gagnidze played a solid Scarpia with a great stage presence, very adept at covering the character's evil with an aristocratic nonchalance that added credibility to the role. (…) Ganidge fulfilled his musical duties without problem and on the whole did not pale in comparison.� 

Carlos Javier López Sánchez, Operaworld.es

 

 

“George Gagnidze, gifted with a quite interesting color, sings with incisive vigor and ardor. His Germont is polychrome, precise and rich with chiaroscuros; in the second act, in particular, he stands out as the protagonist.”

Teresa Mori, Roma

 

“Among the leads on the other hand George Gagnidze (Giorgio) sang all the performances, and he was among the most applauded.”

Paolo Popoli, La Repubblica

 

“George Gagnidze creates a perfidious and sneering Germont, relying not so much on volume as on giving life to a well-defined character’s personality and on an authoritative vocal stage presence.” 

Stefano Valanzuolo, Il Mattino 

 

"As a guarantee of a high quality Germont père, baritone George Gagnidze completed the trio on the front line, displaying an austere noble and rich timbre within a firm style and impeccable pitch. His chemistry with Pérez throughout the eight different sections of the duet was magnificent, and his grand aria “Di Provenza il suol”, with its uncut - and rightly so - cabaletta was richly nuanced." 

Paola De Simone, Connessi all’opera 

 

“With a robust vocality and good acting skills, baritone George Gagnidze adopted a nearly “declamatory” and threatening style giving a dramatic quality to the rests between syllables. He approaches with a sort of heavy sentimentalism the aria “Di Provenza, il mare il suol”, shows Germont’s ability in dissimulating hypocrisy. And this happens also when, in the finale of the opera, Germont truly “seems” a remorseful man.”

Nicola Prisco, GB Opera

 

“George Gagnidze, a Georgian baritone already much appreciated at the San Carlo, lends his excellent voice to Giorgio Germont: excellent vocal material (…) he masters with self-assuredness the musical writing, displaying a wonderful legato as well as a constantly adequate volume. He is a father less authoritarian than authoritative, gentlemanly, restrained in his interpretation and elegant in his ligne du chant. The best one out of the three leads.” 

Luigi Raso, L’ape musicale 

 

“In this special intimate version, even more depth is acquired by the figure of Germont père, who stands out hieratically as well as truly fatherly, capable of understanding the pain he has caused. The cammeo of his aria “Di Provenza il mare, il suol” is a true oasis of serenity amidst the lacerating passions, and is magnificently performed by the Georgian baritone.” 

Vesuvio Live

 

“Baritone George Gagnidze’s performance as Giorgio Germont was particularly intense.”

Pino Cotarelli, Teatro Cult News

 

“As it often happens, Germont père was the most applauded; his part was here entrusted to the Georgian baritone George Gagnidze, already well-known in Naples for his eager Alfio in the last runs of Cavalleria. Verdi roles are something different altogether, but I would say he got by even better. Thundering and round voice, well amplifies in the posterior cavities, reliable and secure emission, homogeneous vocal range, beautiful legato and good pronunciation: a surprising performance.”

Memorie dal loggione

“And she (Mkhitaryan) was well accompanied by the Czech tenor Pavol Breslik and the Georgian baritone George Gagnidze; the latter was also well greeted in the final six minutes of applause dedicated to them by a sparse but warm audience, struggling to make up for the absence of the public.” 

Maricel Chavarría, La Vanguardia  

 

"Baritone George Gagnidze was able to convey expressiveness and strength as Giorgio Germont. His was a full-fledged stage presence. He was imposing both in his appearance and his voice and showed not only that he understood his role, but that he made it his own. He believed in it and showed it to us in a severe and dramatic way. In my opinion, Gagnidze was the best of the evening. " 

Manel Haro, Llegir en cas d’incendi 

"... in the duet "Enzo Grimaldo, principe di Santifor", with which he [Joseph Calleja] together with George Gagnidze led the evening to a first highlight. Thanks to a mighty baritone voice, the Georgian singer dominated with his noble timbre every single scene in which he took part anyway, and gave the dramaturgically rather undeveloped role of Barnaba the malignity and elegance of a Scarpia." 

Ursula Ehrensberger, Das Opernglas 

 

"George Gagnidze shone in the big scenes of Barnaba... ." 

Käthe Wegler-Heinze, Der Neue Merker 

 

"From the first minute, George Gagnidze seemed to ignore that this was a concert performance and played the evil Barnaba with all possible facets, wringing from his powerful baritone all kinds of expressions, up to the cry of despair in the face of the dead Gioconda."

Ingrid Wanja, Der Opernfreund

 

There were also two respectable debuts. George Gagnidze was a solid baritone who powered out the role of Iago (...).... perfectly operatic and effective."

Anne Midgette, The Washington Post

 

 

The protagonist of Iago, vital pillar of this opera, was sung by George Gagnidze who remained conistent in his vocal and scenic power, a baritone with a full, round timbre and compelling stage presence.

Esperanza Berrocal, Ópera Actual

 

 

Somehow, these three, while following Shakespeare’s plot, round it out in their finest moments, especially Georgian baritone George Gagnidze as Iago, who renders his nihilistic “Credo” with such vehemence and violence that it clarifies the character beyond merely, in Shakespeare’s words, that “I hate the Moor.”
Gary Tischler, The Georgetowner

 

https://www.broadwayworld.com/washington-dc/article/BWW-Review-WNOs-Superb-OTELLO-at-the-Kennedy-Center-20191101
In a city full of dastardly characters, ranking one above the other can be tough. But for the next two week's there's no competition with George Gagnidze's Iago in Washington National Opera's (WNO) Otello. (...).Making an impressive WNO debut, Gagnidze is manipulative, cunning, and tormented as Iago. His rich baritone voice is at its zenith during his internal monologue in Act II, where we see just how far his jealousy will drive him. Toying with Thomas' Otello, Gagnidze's Iago turns in a
performance Frank Underwood would be proud of. He's vile and charming, intensely focused and unapologetic.

Benjamin Tomchik, broadwayworld.com
 

www.nach-welt.com/unterhaltung/thomas-macht-bei-wno-schlagzeilen-uber-ein-dusteres-otello/

There were also two respectable debuts. George Gagnidze was a solid baritone (...)

N.N., nach-welt.com

 

 

https://www.metroweekly.com/2019/10/dc-opera-review-wnos-otello/

Playing it with satisfying menace and an interesting suggestion of the misogynistic bully, George Gagnidze is credible as the mean-spirited Iago, hellbent on driving Otello

into a jealous rage over Desdemona’s supposed infidelity. Gagnidze sings with a rich, driving baritone that delivers this ruthless man with a relentlessness that works we

Kate Wingfield, metroweekly.com

 

 

http://operagene.com/new-blog/2019/10/28/washington-national-operas-otello-that-darn-handkerchief

Also adding greatly to my enjoyment was George Gagnidze as Iago, a role he is known for internationally.  His highly polished baritone serves the characterization of Iago well.

N.N., http://operagene.com

 

 

http://wellsung.blogspot.com/2019/10/otello-at-wno.html

Appearing for the first time with WNO, regular Met fixture George Gagnidze’s assertive, even baritone soared through Iago’s music. His “Credo” offered plenty of throwback vocal grandeur, filling the house with charismatic sound and tossing off those big forte flourishes with ease.

Alex, http://wellsung.blogspot.com

 

 

https://bachtrack.com/de_DE/review-otello-david-alden-russell-thomas-crocetto-gagnidze-washington-national-opera-october-2019George

Gagnidze brought power and passion to the tricky role of Iago, one of opera’s most iconic villains. His extended dialogues with Otello were musically captivating (...).

Vishnu Bachani, https://bachtrack.com

 

 

https://parterre.com/2019/11/07/general-not-specific/

Only the Iago of George Gagnidze came off convincingly at this Otello. (…) his pointed, meaty baritone thrust the text out into the theatre and across the stage.

Harry Rose, https://parterre.com/

 

"Georgian baritone George Gagnidze, one of today’s most sought-after exponents of the Italian Fach, had been engaged for the title role of "Nabucco". Gagnidze made a name for himself on an international level with select roles from Verdi operas, notably Amonasro ("Aida") and the title roles of "Simon Boccanegra" and "Rigoletto". At this performance, Gagnidze displays a brightly timbred, but above all noble and well-disposed baritone voice with a pleasant and substantial middle register. (...)

The middle register shows voluminous and vigorous qualities... . Gagnidze convinces especially in rousing dramatic scenes, such as at the end of the second scene in "Tremin gl'insani del mio furore!", where he elaborates the authoritative-tyrannical character of Nabucco with vocal expressiveness and creative power. (...) By way of acting, he flings himself into Keith Warner’ role concept with great dedication and theatrical habitus.

Conclusion: George Gagnidze was really worth hearing in the lead role of “Nabucco“. ... he convinces in dramatic scenes requiring a large and expressive baritone voice.
Markus Guggenberger, Opern- & Konzertkritik Berlin

 

 

His performance was dramatically intelligent; one felt that each word he sang had meaning; his voice was satisfyingly robust. In Part IV, when his character returns to sanity […], his repentant pleas to God felt heartbreakingly earnest and dramatically sensitive. 

Elyse Lyon, https://operawire.com

 

 

"Baritone George Gagnidze (Alfio) displays all the glacial detachment required by the role, theatrically resolved with a thunderous, meaty, robust, dark voice gifted with remarkable low notes and strong accents."

Nicola Prisco, GBOpera

 

"George Gagnidze convincing in the role of Alfio, both for stage presence for the stentorian voice..."

Sergio Palumbo, Cultura spettacolo

 

“Restless was the Alfio of George Gagnidze, a Georgian baritone with a dark and technically controlled voice...”

Memorie dal loggione

 

 

 

“George Gagnidze was very assured in his handling of the role…the clarity of his [vocal] color, the uniqueness of its timbre, and its deep resonance give him a truly special quality.”

Carlos Ernesto Ure, La Prensa

 

“The Georgian baritone’s robust voice and skillful acting made for a compelling Rigoletto, rough and commanding yet pitiable and surprisingly relatable. He earnestly conveyed the inner bitterness of the wretched comedian as well as the vulnerability of a man fearful of losing his treasure in life – his darling daughter Gilda. As he recalls and dwells upon the curse (“la maledizione”) placed upon him by Monterone... Gagnidze reveals Rigoletto’s fearfulness and superstitious nature, highlighting the character’s awareness of the consequences of wrongdoing. In this way, the character became more than a seedy clown and overbearing father – he became relatable ... The final scene was a high point of Gagnidze’s performance: … Despite the jester’s dejected spirit, his taunts, his plot to kill the Duke, Gagnidze managed to make him, in this moment, a man with whom the audience could empathize. ... The baritone’s final defeated cry of the curse was haunting – in fact, it sent a chill down my spine.”

Nicole Kuchta, Opera Wire

 

“George Gagnidze was a very fine Rigoletto in every regard, with his sizeable voice evenly produced throughout the music's vast range. Mr. Gagnidze's "Pari siamo", and his ensuing scene with Sparafucile were vividly sung, and then the baritone waxed sadly tender as he sang to Gilda of her late mother, and with haunting lyricism in "O veglia, o donna", where he instructs the nurse Giovanna to guard well his beloved daughter (a task at which Giovanna fails miserably)...Having been taunted by the "courtiers" (I suppose here we should call them the "Rat Pack"), Mr. Gagnidze unleashes a powerful fury with "Cortigiani, vil razza dannata...", and then, driven to desperation, he pleads most movingly ("Miei signori...") as he begs for the return of his daughter. This is one of Verdi's greatest - and most human - portraits, and it was really touching today.”

Oberon, Oberon’s Grove: My Met Score Desk

"... the malicious intrigue of the devious Iago, George Gagnidze”
Wilhelm Sinkovicz, Die Presse

 

“The French tenor had a stupendous partner in the baritone George Gagnidze, who had the part of Iago and interpreted it with vocal excellence, with an ample range of expression and bringing out the text extraordinarily. I am  tempted to say that without doubt this is the best I have heard Gagnidze to date.”

Alejandro Martínez Platea Magazine

 

“The baritone George Gagnidze who plays the role of the devilish Iago, has an identifiable vocal signature and plays a sober game with finesse. This production is an announced triumph.”
Jean-Christophe Mary, Paris Capitale Magzine

 

“George Gagnidze makes a solid Jago, always fair and expressive... [H]e knows how to raise the sound level when the score requires it, launching a thunderous credo…. "

Tristan Labouret, Bachtrack

 

“Incisive, strong, and lively, he never lets the public come to like him.”

Max Yvetot Opera Gazette

 

"The Georgian baritone avoids all theatrical and vocal histrionism: the vocal effects are ... effective. Served by a neat diction, his Iago is dark and worrying at will."
Stéphane Lelièvre, Olyrix

 

"George Gagnidze makes an imposing Iago with a very composed physicality and character. …[T]he voice knows how to refine itself in the sotto voce while still retaining its intensity: the voice flows through the entirety of the Bastille constantly supported, leaning on the great roundness of dark toned vocal depth, stretching towards a lyrical treble. Gagnidze also saves his means and effects for the highlight of his part: the terrible impious Credo, with long and intense breath, cutting through the brass. The staging even presents this tune in a recital version: the black curtain falls behind Iago and a hand stretched from behind the scenes offers him a skull to which he addresses himself, thereby reinforcing the Shakespearean effect."

Charles Arden Olyrix

 

"George Gagnidze ... assumes and fully assures his role, further enhancing the intensity of his acting, the darkness of his vocal character as well as his ease and his knowledge of the mise-en-scène With wisdom, Gagnidze knows how to present his energy and his colossal stature. "
Charles Arden, Olyrix

 

“George Gagnidze is still Iago, with the same qualities such as a great vocal command (for once, we hear the trills), a clear timbre (...) (...) It remains nonetheless that the electrifying finale of Act II, the duet with Gregory Kunde, is simply grandiose.”

Jean Michel Pennetier, Forum Opéra

 

" [T]he baritone is very convincing in the gall and duplicity thanks to a superb phrasing and a voice very well conducted, offering nuances that move away vociferous Iago.”

Steeve Boscardin, ResMusica

 

"Verdi had once thought of baptizing his opera" Jago ", as the whole plot is based on the officer's schemes.True keystone and strategist of a sinister drama, Jago is interpreted by George Gagnidze, convincing because of his imposing stature and the dark accents of his timbre. He plays a more Machiavellian than demonic character, who manipulates the strings of evil and paralyzes the Moor's clairvoyance, is happy about the fact that "the poison works", then is delighted to see his endeavor carry his deadly results. (…) his voice is deep and sonorous, the light middle register has beautiful colors. "

Quentin Laurens, WebThéâtre

"Georges Gagnidze plays an Iago who expresses his dark designs without difficulty and finds sufficiently perverse ways to play the sinister comedy that will lead Otello to his ruin…."

Paul Faurier, Toute La Coulture

 

“George Gagnidze also made his contribution with steady and secure voice”

Jaume Estapà, Opera Actual

 

“…and the viperous Iago of George Gagnidze”

Classica

 

“Baritone George Gagnize is a credible, devious and cunning Iago.”
Françoise Krief, Planete Campus

 

“For his part, George Gagnidze offers an honorable performance in Iago. He knows how to bring to the character that it takes sneakiness, even if its game remains very agreed. Gagnidze is excellent: his voice is more de-toned but wins in accuracy. The baritone is superb when he instils in Otello the poison of jealousy and doubt in his air "Era la notte, Cassio dormÌa ».
Floriane Goubault, Avant Scene OPÉRA

 

“The only spot on performance comes from George Gagnidze, Iago, who voluminous timbre is never clouded”
Vincent Guillemin, AltaMusica

“Celebrating the centennial of the work’s world premiere, at the Met on Dec. 14, 1918, this was a very fine “Trittico,” particularly the disconsolate “Il Tabarro,” inflamed by Amber Wagner’s big, creamy soprano, Marcelo Álvarez’s effusive tenor, and George Gagnidze’s grim, moody baritone”

Zachary Woolfe, The New York Times

 

“About the only excitement was sparked by soprano Amber Wagner and baritone George Gagnidze as the miserably married Giorgetta and Michele. These two, plus Blythe, were the only singers who mustered the wallop that only king-sized voices can deliver in a huge theater like the Met.”

James Jorden, Observer

 

“Rounding out the tortured love triangle was George Gagnidze’s moody Michele. His palpable pain at the realization of his double loss (first his child, now his wife) kept him from being a villain, and his mellifluous tone reinforced his humanity.”

Joanne Sydney Lessner, Opera News

 

"... George Gagnidze was an impressive Michele."
Eduardo Brandenburger, Ópera Áctual
 

 

“The smoldering, menacing Michele of George Gagnidze overwhelmed Amber Wagner and Marcelo Álvarez as the illicit lovers.”

Patrick Clement James, Parterre.com

 

“… George Gagnidze is chilling in Michele’s soliloquy vowing to kill his wife’s as-yet unidentified lover.”

David M. Rice, ClassicalSource

 

“George Gagnidze’s rough-edged baritone is just right for the enraged Michele.”

Robert Levine, Bachtrack

 

“Baritone George Gagnidze is an unhappy and somber Michele, roused to anger and revenge when he discovers the identity of his wife’s lover.”

Operametro.com

 

“… very good voices (Amber Wagner's firm, rich soprano as Giorgetta, George Gagnidze as Michele).” (…)

“George Gagnidze's rough-hewn baritone was a good match for Michele.”

Humbled and Overwhelmed Blog

 

“George Gagnidze … menacing as ever … a harrowing delivery of his chilling monologue “Nulla! Silenzio!,”… .”

Eric C. Simpson, New York Classical Review

 

“El barítono georgiano administró sus recursos con sabiduría y llenó el escenario sin dificultades para cuajar un Michele de altura. Su éxito fue indiscutible.”

Carlos Javier Lopez, OperaWorld

 

“… imponente y bien caracterizado en el papel del brutal Michele. Sin duda cuando grita «La pace è nella morte!» al final de su monólogo evoca una presencia temible.”

David Yllanes Mosquera, Codalario

 

 

“It seemed like the role of Germont père was written for the Georgian George Gagnidze. After a fierce entrance, just as the role requires, one could throughoutly enjoy noble Verdi singing.”

Sieglinde Pfabigan, Der Neue Merker

 

“Already at the beginning of the second act, Kurzak and baritone George Gagnidze, in the role of Giorgio Germont, were heavily acclaimed by the audience with sceams of "Bravi!"... (...)

It was thus the voices that raised the audience at the end of the performance, with reruns until October 26 and again between December 11 and 19, to thank Kurzak, Gagnidze and Jean-François Borras (Alfredo Germont), the sensitivity with which they embodied their characters.”

EFE, La Vanguardia

 

“This Germont knows how to sing “Di provenza il mar il sol” dolce, and how to convince in his last phrases of remorse.”

Patrice Henriot, Opéra Magazine

 

“George Gagnidze sings a scrupulously nuanced Germont, with a finely modeled cantabile... .”

Didier van Moere, ConcertoNet

 

“George Gagnidze’s Germont is certainly traditional but effective...”

Alain Dualt, Opera Online

 

“To better achieve his goals and convince La Traviata to give up Alfredo, Giorgio George Gagnidze decided here to be immediately enveloping and caressing. He talks with his son using a very appropriate vibrato and his low notes are firmly set, even in the final tear of his remorse.”

Céline Wadoux, Olyrix

 

"George Gagnidze, (...), plays a severe Giorgio Germont, whose tone warms up as the character becomes human, which does not deprive him of being distressing during his duet with his son from the beginning."

Audrey Bouctot, Forum Opera

 

 

"Giorgio Germont - George Gagnidze is a baritone who has been rightly acclaimed by the audience."

Guy Courtheoux, Onsourtupas.fr

 

[Photo: Sebastien Mathé / Opéra national de Paris]

 

 

"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

 

"Den richtigen Brunnenvergifterbariton hat George Gagnidze für den Intriganten Barnaba... . ... die Stimme [ist] durchschlagskräftig und größte Räume füllend.

Ingrid Wanja, Operalounge.de

 

“Dem bösartigen Verführer Barnaba (schwarzes Wams, Spitzenkragen) leiht Bariton George Gagnidze eine herrische Ausstrahlung.”

Opernkritik Berlin

 

“George Gagnidze sang einen wunderbar fiesen Barnaba... .”

Kasparr Sannemann, Oper Aktuell

“George Gagnidze is an Amonasro with an elegant ligne de chant.”

Claudio Poloni, Concerto.net

 

“Incivise on the contrary was the Amonasro of George Gagnidze, with his large and homogenous voice, secure high notes and good interpretative approach.”

Fabio Larovere, Connessi all'Opera

 

“George Gagnidze exuded authority as the dignified Amonasro.”

James Imam, Bachtrack.de

 

“...while George Gagnized delivered a vibrant, authoritative and measured Amonasro.”

Davide Annachini, Delteatro.it

 

“Very much liked was the powerful Amonasro of Georgian baritone George Gagnidze, imposing both vocally and physically.”

Andrea Merli, I teatri dell'Est

 

“George Gagnidze is a worthy Amonasro both in the second act finale and particularly in the duet with his daughter in describing the tragic conditions of Ethiopia. Powerful but always on pitch.”

Fabio Tranchida, Il trillo parlante

 

“The two kings – especially the Nubian, performed by George Gagnidze– did well, the Nubian king was convincing when he tried to get Aida to get Radames to give up military secrets.”

Joe's Concert Reviews

 

“More might of the old days in the Amonasro of George Gagnidze, certainly more authoritative king – with its sturdy vocal production – than loving father in the congenital manner of our own baritones.”

Francesco Lora, L'ape musicale

 

 

"Gagnidze ... displayed his attractive baritone color, robust and firm, with well placed high notes and a convincing expression”

Arturo Reverter, La Razon

 

"More uniform was the interpretation of Liudmila Monastyrska, whom the audience greeted with warmth and applause at the end of her duets and arias... The same happened for George Gagnidze as Amonasro."

Europa Press

 

"A vengeful Amonasro, George Gagnize let the metal sound of his voice ring out, perpetuating the memory of the great interpreters ofthe role."

Nicolas Grienenberger, Classique News

 

"George Gagnidze was a husky Amonasro, plebeian but heroic, with a solid, nasal baritone and ringing top notes."

Fernando Remiro, Bachtrack

 

"I was pleasantly surprised by the Amonasro of George Gagnidze, physically and scenically perfect for the

rôle. But his timbre is also very pleasing and although it shows a certain abruptness in his singing, it also had moments of adequate nuance, especially in the duet with his daughter."

Javier Del Olivo, Platea Magazine

 

"George Gagnidze did a good job by portraying a good Amonasro, a short but intense role, and demonstrated a great facility to sail t the high register and a good presence in the middle register."

Mariano Hortal, Operaworld.es

 

"The brooding George Gagnidze sings compactly and well in both operas…”

Zachary Woolfe, NY Times

 

 

“George Gagnidze’s forthright, robust articulation of Alfio, and Rihab Chaieb’s shimmery-voiced Lola provide the apposite oppositional timbre.”

Xenia Hanusiak, Financial Times

 

“George Gagnidze was an ideal Alfio, with the sort of meaty baritone that can bark out the teamster song without sacrificing tone.”

Eric C. Simpson, New York Classical Review

 

 

“In the roles of Alfio and Tonio, George Gagnidze showed a potent baritone, singing with strength. Gagnidze’s grainy timbre works well with these two characters as they both show their ugly nature. It also helped that Gagnidze showed two different sides to each character. If his Alfio was imposing and confident, his Tonio seemed deformed in the way he moved about.”

Francisco Salazar, Operawire

 

“Gagnidze was more in his element as Tonio, suitably grim and menacing and singing with bite...”

Christopher Corwin, Parterre.com

 

 

“Also in both operas (as Alfio and Tonio) was George Gagnidze, far more impressive than in the past, singing with a shiny baritone which, maybe, could have used more weight but had everything else.”

Robert Levine, Bachtrack

Dies bestätigte sich auch nach der Pause, als er den Prolog zu I PAGLIACCI im Frack (wie es sich gehört ....) vor dem Vorhang mit exquisiter und kraftvoll-sicherer Tongebung zu einem vokalen Ereignis machte. Hochklassig! In der Oper dann gab er den Tonio mit wohltuend zurückhaltender darstellerischer Gestaltung, also ohne lächerliches Chargieren, das braucht es nämlich für die Glaubwürdigkeit nicht.“

Oper-Aktuell

 

„Die Mezzosopranistin Elena Zhidkova als Santuzza, der Teodor Ilincai als Turiddu und der Bariton George Gagnidze als Alfio sangen sich in einen Rausch, amazing, wunderbar, so hätten sie auch in Wien, München, Berlin, Mailand, Paris, London und New York auftreten können – und da treten sie ja auf oder sind vor kurzem aufgetreten.“

Die Note 1 mit zwei Sternchen ersang sich der Georgier George Gagnidze als Alfio. Der Bariton singt seit der Saison 2008/2009 ohne Unterbrechung an der Metropolitan Opera in New York. (...) Auch sonst wird der Weltstar in dieser Saison nur an Topspielstätten auftreten: als Amonasro („Aida“) im Teatro Real de Madrid und im Teatro alla Scala in Mailand, erneut als Alfio im Teatro dell’Opera di Roma und zum Schluss der Saison, Achtung: als Barnaba in „La Gioconca“ von Amilcare Ponchielli an der Deutschen Oper Berlin zwischen dem 28. Juni und 7. Juli 2018 – das ist definitiv eine Reise in die Hauptstadt wert! Ja, und jetzt in Hamburg sang dieser Bariton mit einer unglaublichen Hingabe, mit einer prachtvollen Höhe, vollkommen unangestrengt, und sehr angenehm im mittleren und tieferen Register. Eine absolute Wohlfühlstimme.

Die Zhidkova und die Herren Ilincai, Gagnidze an einem Abend im Haus an der Dammtorstraße – das sollte vom Niveau her state of the arts werden! Genau für solche Sänger kommen die Menschen in die Oper. Sie öffnen Herzen, laden zum Träumen ein, lassen die Welt da draußen für eine Zeit lang vergessen. Diese Sänger sorgen für magische Momente."

Andreas Schmidt, Klassik-Begeistert

 

"George Gagnidze agierte in beiden Stücken mit der Statur und dem Charisma eines James Gandolfini, einmal als patriarchengleicher Fuhrmann mit dominanter Aggression, einmal als plumper Tölpel, der das heimliche Liebespaar verrät, und als Ansager zu Beginn von 'I Pagliacci' eine grandiose Figur macht."

Dr. Aron Sayed, Klassik.com

“George Gagnidze a formidable characteriser from the start as Shaklovity, the boyar who will assure eventual control for the young regent.”

David Nice, The Arts Desk

 

“The strong characterisation had started with George Gagnidze’s slippery, beautifully sung performance as the Tsar-friendly Shaklovity (who took charge of the Streltsy after Prince Khovansky was bumped off)...”

Peter Reed, Classical Source

 

“... and it was wonderful to hear George Gagnidze – who I have previously heard in broadcasts from the Met – live. His signature roles seem to be Amonasro, Tonio, Alfio and Scarpia, but he sang Shaklovity with such malevolence that it gave me chills and his Iago must be wonderful to hear.”

Jim Pritchard, Seen and Hard International

 

“George Gagnidze’s bullying baritone suited the faithful boyar, Fyodor Shaklovity...”

Mark Pullinger, Bachtrack.com

 

“Georgian George Gagnidze was a dark-voiced Shaklovity in the Russian tradition - his prolonged lamentation for Russia in act three was exceptional.”

Colin Clarke, Opera Today

“...with other roles very well sung, notably: the boyar Shaklovity (George Gagnidze)...”

Mark Ronan, Theatre Reviews
 

“Great performance of baritone Gagnidze”

“ In the title role baritone Gagnidze expresses his art at his best singing with effective, technical and expressive subtleness, with a homogenous timbre and a jagged fraseggio to offer an all-around characterization.”

Gianni Villani, L'Arena

 

“The internationally renowned and Verdi-experienced Georgian baritone George Gagnidzw is a vocally and scenically convincing Nabucco.”

Thomas Migge, Deutschlandfunk

 

“George Gagnidze in the title role does not manifest a particularly voluminous voice but sings with taste, without forcing, displaying a fine legato and making an attempt at giving a meaning to the text.”

Danilo Boaretto, OperaClick

 

"George Gagnidze's comfortable voice delivery, the flexibility of the projection, and the copper nuances that adorns his top contribute to a more than satisfactory interpretation of the title role. The charism of the artist and his great musicality add to these assets [read our columns of 19 June 2016 and 3 February 2011].

Katy Oberlé, Anaclase

 

“George Gagnidze in this production becomes insane as a result of a gunshot wound to his head. The scene may be a little comic but thanks to the his great experience Gagnidze has not falled into the ridicule. His performance was good, he was incisive in his role and attentive to the details”.

Salvatore Margarone, Musicandosite

 

“Nabucco/Franz Josef is George Gagnidze who offers a hard, severe king gifted with a certain charisma that exalts his interpretative skills.”

Maria Teresa Giovagnoli, MTG Lirica

 

Nabucco had the interesting voice of George Gagnidze, in crescendo for effectiveness and stamina, even though he is more prone to introspection (his “Dio di Giuda” was remarkable than royal authority.”

Cesare Galla blog

 

“...The Nabucco of George Gagnidze displayed a vibrant singing, well controlled in the piano dynamics as well, aimed at restoring the authority and intensity of Verdi's first great baritone role...”

Del teatro.it

 

 

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"From Scarpia to Tonio, George Gagnidze has been called upon to play a number of memorable antagonists on the Met’s stage. His robust, fine-grained baritone was in top form on Thursday and he brought unusual depth to the Ethiopian King Amonasro, avoiding common the temptation to play him as a skulking schemer."

Eric C. Simpson, New York Classical Review

 

"George Gagnidze ... singing with force. "

Robert Levine, Bachtrack.com

 

"His growling sound came through with cataclysmic power during the central section of the third act duet with Aida. Barreling over the orchestra, Gagnidze constructed the portrait of a ferocious beast that delivered his most vicious blow on the climactic “Dei Faraoni tu si la schiava.” His crescendo on “Faraoni” was particularly thrilling as he held the note for as long as he could muster before deliver the final backhanded blow on the end of the phrase. And yet as he turned to console his daughter, he mustered up a solid legato phrase, showing a massive contrast between the monster he had unleashed a few moments earlier."

Operawire.com

 

"As Aïda’s wily father Amonasro, baritone George Gagnidze pumped out the sound.."

James Jorden, New York Observer

 

 

"Amonasro was George Gagnidze, the Georgian baritone—full of testosterone, as usual. Snarling like Scarpia (the villain in Puccini’s Tosca), as usual. He was a treat to watch and hear."

Jay Nordlinger, The New Criterion

 

 

 

 

“George Gagnidze was a stolid Amonasro”

Joshua Kosman, The San Francisco Chronicle

 

“George Gagnidze was a powerful Amonasro”

James Roy MacBean, The Berkeley Daily Planet

 

“Baritone George Gagnidze returns from his highly lauded appearances early in the season in Andrea Chenier to sing Aida's father Amonasro. His dark-toned voice is right for the part...”

Philip Campbell, The Bay Area Reporter

 

“As Aida’s father Amonasro, George Gagnidze was a proud, menacing presence with a smooth voice with lots of character.”

Ilana Walder-Biesanz, Bachtrack.com

 

“the Amonastro sung by baritone George Gagnidze and the Ramfis of Raymond Aceto, both seasoned, solid professionals... .”

Michael Milenski, Opera Today

 

 

“In the limited but important role of Amonasro, George Gagnidze sang impressively.”

Janos Gereben, Classical Voice America

 

“A specialist in Verdi’s baritone roles, George Gagnidze, from the Republic of Georgia, was an authoritative Amonasro, giving a persuasive performance that suggested a determined leader who inspired the enemy forces. His duet with Crocetto’s Aida was one of the evening’s many vocal high points.”

William Burnett, Opera Warhorses

 

“Gagnidze gave a commanding performance as Amonasro”

The Opera Tattler

“Georgian baritone George Gagnidze was a powerhouse Gérard; singing with unflagging energy, he made the villainous character the most fully dimensional individual onstage“

Georgia Rowe, The Mercury News

 

“...and George Gagnidze is a darker-voiced baritone. His performance was memorably powerful as the complicated revolutionary who finally cannot betray his friend or the woman they both love. He brought sympathetic intensity to his big moments.”

Philip Campbell, The Bay Area Reporter

 

“Here and throughout the opera, George Gagnidze, who was trained in his native Tiblisi, sang with beautiful tone and great passion ...”

James Roy MacBean, The Berkeley Daily Planet

 

“The role of Carlo Gérard is partially based on the life of another real person, revolutionary leader Jean-Lambert Tallien. Giorgian baritone George Gagnidze’s interpretation of Gérard made him the most outstanding artist at San Francisco Opera’s opening night. Gérard is a servant who grew up at the same time as Maddalena, the daughter of the Countess. He sees revolution as his only way out of a life of servitude and at the end of Act I he throws his livery coat to the floor in rebellion. Some of the most famous baritones of operatic history have sung the role, but Gagnidze's interpretation was the equal of any portrayal from past eras. He has a huge, powerful voice and he offered many shades of rich vocal color when he sang “Nemico della Patria.” Usually playing the villain in opera, Gagnidze here portrayed Gérard as a more sympathetic and ultimately realistic character.”

Maria Nockin, Bachtrack  

 

“Baritone George Gagnidze, one of several contemporary international stars who hail from the Republic of Georgia, was an authoritative Gérard. Recognized as one of the world’s leading baritones, this was his first appearance in the War Memorial Opera House.”

William Burnett, Opera Warhorses

 

 

“Georgian baritone George Gagnidze played Gerard, his great aria “Nemico della patria” was with wrenching expression.”

Olivia Hsu Decker, Haute Living

 

“Twenty years after his debut, Gagnidze mated deep conviction and handsome, strong tone with an economy of gesture and convincing facial expression. As Scarpia-like as he may have been in his lecherous advances on Maddalena, he ultimately succeeded in evoking sympathy for taming his lust in the name of loyalty and honor. But as unified as his portrayal was – his “Nemico della patria” was the best showpiece of the evening – it was not wrenching enough to put the production over the top.”

Jason Victor Serinus, San Francisco Classical Voice

 

 

“Gagnidze gave a nuanced turn as the conflicted Gérard.”

The Opera Tattler

 

 

"As Gérard, baritone George Gagnidze (principal number three in their San Francisco Opera debut), brought rich dimension and authority to his character, his deep oaky resonance and vocal fluidity increasingly making their mark along the way."

Operachaser blog

 

 

“Baritone George Gagnidze as Gerard had an unwavering, weighty & consistent sound.”

Axel Feldheim, Not For Fun Only blog

 

 

“George Gagnidze as Carlo Gerard was an outstanding remorseful revolutionary. His voice is not the largest baritone around, but it has the right sound for Gerard. Gagnidze delivered a forceful and nuanced reading of ‘Nemico della patria’ which was very well appreciated by the audience. All the notes were there for a part that is as difficult as many of Verdi’s great baritone roles.”

Neil Kurtzman, Medicine and opera blog

 

 

"Du coté des personnages masculins, on retiendra la profondeur et la majesté vocale de George Gagnidze dans le rôle du rebelle Amonasro..."

Hélène Kuttnerm Artistic Rezo

 

“l’Amonasro percutant de George Gagnidze...”

Jean-Luc Clairet, ResMusica

 

"George Gagnidze n'a aucun mal à s'imposer dans le rôle d'Amonasro, qu'il interprète sans effet de manche, d'une voix fière et percutante..."

François Lesueur, Concertclassic.com

 

"Avec une puissance maîtrisée, la basse George Gagnidze s’impose sans problème dans le rôle d’Amonasro... "

Charlotte Saintoin, Olyrix

 

"… d’Amonasro le vaincu, sobrement rendu à sa dignité par George Gagnidze..."

Caroline Alexander, Webthéâtre

 

“Il devrait écouter l’Amonasro de George Gagnidze, son heureuse antithèse, déchu de son trône mais pas de sa ligne. Il sauve l’honneur des clés de fa (...)”

Didier van Moere, Concertonet

 

"Vaillant lui aussi, et tout en rondeur, George Gagnidze capte l’attention (Amonasro)."

Laurent Bergnach, Anaclase

 

"Heureusement, George Gagnidze est un Amonasro bien mieux chantant et bien plus investi théâtralement."

Laupéra, Vissi d'arte blog