Press

George Gagnidze Press and Review
Reviews    -   


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


07.2018 Hollywood Bowl
Otello - LA Phil at Hollywood Bowl 2018

La Gioconda - Deutsche Oper Berlin 2018

"... eine ganz große Sängershow mit jeder Menge zündenden Nummern. Für die jetzt genau die richtigen Riesenstimmen versammelt sind: Hui He und Daniela Barcellona liefern sich ebenso packende Vokalduelle wie Alfred Kim und George Gagnidze."

Frederik Hanssen, Tagesspiegel

 

"Dem Verführer und Spion Barnaba (schwarzes Wams, Spitzenkragen) leiht George Gagnidze seinen kantigen Bariton. Gagnidze ist mit herrischer Ausstrahlung präsent.”

Konzert Opernkritik Berlin


07.2018 Deutsche Oper Berlin
La Gioconda - Deutsche Oper Berlin 2018

Aida - Teatro alla Scala 2018

“... the best performance of the evening was George Gagnidze's, a vigorous Amonasro.”

Giovanni Gavazzeni, Il Giornale

 

“ The Amonasro of George Gagnizde has a ringing voice (...)”

Fabio Vittorini, Il Manifesto

 

“George Gagnidze is an Amonasro with a ligne du chant always correct and well produced; the volume is sufficient (…) there is elegance in his voice production and the figure of king and father emerging from his portrayal is completely credible.”

Simone Manfredini, Operaclick

 

“The most complete (concerning voice and interpretation) I would say was George Gagnidze, a very satisfying Ethiopian king.”

Carla Maria Casanova, Lo Spettacoliere


05.2018 Teatro alla Scala
Milano

Aida - Teatro Real Madrid 2018

"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


03.2018 Teatro Real
Madrid

Cavalleria rusticana / Pagliacci - Metropolitan Opera 2018

"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


01.2018 Metropolitan Opera
New York

Cavalleria rusticana / Pagliacci - Hamburg 2017

„Die beiden Männer dieses Bauern-Dramas sind ja nicht gerade Sympathieträger: Beide sind sie Machos, der eine mit Hang zur Brutalität (Alfio), der andere leicht cholerisch und testosterongesteuert. Doch beide bekamen vom Komponisten Mascagni dankbare Partien in die Kehle gelegt - der Bariton George Gagnidze als Alfio und der Tenor Teodor Ilincai als Turridu liessen keine Wünsche offen.

George Gagnidze war mit seinem ausgezeichnet fokussierten, kernig und viril klingenden Bariton eine Idealbesetzung für den Alfio, besser geht kaum. 


10.2017 Staatsoper Hamburg
Hamburg

Khovanshchina - BBC Prroms 2017

Among the plotting nobles George Gagnidze’s Shaklovity stood out...”

Barry Millington, Evening Standard

 

“There wasn’t a weak link in the cast...George Gagnidze’s Shaklovity had all the cunning of the born survivor.”

Tim Ashley, The Guardian

 

“... George Gadnidze a forceful Shaklovity in his rousing paean to his homeland Russia.”
Richard Fairman, Financial Times


08.2017 Royal Albert Hall
London

Nabucco - Arena di Verona 2017

“This Nabucco production was also important for the international cast: in the title role George Gagnidze, Georgian baritone internationally considered one of the best interpreters due to his wide vocal range, who had performed in Arena six years ago in La traviata. On the eve of the premiere Gagnidze had stated his wish to interpret Nabucco (coiffed and costumed as Franz Joseph) as a strong, authoritative and “powerful” ma, a promise he did not betray.”

Davide Orsato, Corriere del Veneto


06.2017 Arena
Verona

Aida - Metropolitan Opera 2017

​"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


04.2017 MET
New York

Aida - San Francisco 2016

"Baritone George Gagnidze brought steely determination and a muscular voice to Aida’s father Amonasro, king of Ethiopia, who falls a captive of the Egyptians upon his army’s defeat. His Act 3 duet with Crocetto, when he convinces her to obtain strategic war information from Radames for the sake of Ethiopia, was especially moving."

James Ambroff- Tahan, The San Francisco Examiner

 

 

“Baritone George Gagnidze was a virile, forceful presence as Aida’s father, Amonasro”

Georgia Rowe, The Mercury News (and East Bay Times)


11.2016 War Memorial Opera House
San Francisco

Andrea Chénier - San Francisco 2016

"The performance’s greatest vocal thrills were supplied by Georgian baritone George Gagnidze, whose Gérard blended seething fury and pathos in equal measure.  His pivotal aria, “Nemico della patria,” sung with superior diction and palpable emotion, represented the evening’s pinnacle of dramatic power."

Georgia Rowe, Opera News

 

“But baritone George Gagnidze as the footman-turned-rebel Carlo Gérard, the third member of the romantically linked trio, made the strongest impression. Gérard serves at the court of Maddalena’s mother and has longed for her since he was young man, but though he finds out that her affections have settled upon Chénier, he manages to set aside his jealousy in the interest of justice. Gagnidze was compelling in an ultimately sympathetic role, and his big, rich voice flowed throughout the house, most effectively in his arresting Act 3 aria “Nemico della patria.”

James Ambroff-Tahan, The San Francisco Examiner

 


09.2016 War Memorial Opera House
San Francisco

Rigoletto - Berlin 2016

"Der Bariton George Gadnidze singt die Rigoletto-Arie im zweiten Akt („Cortigiani, vil razza dannata“) wunderschön ausdrucksstark. Gagnidze ist ein echter Verdi-Bariton mit subtiler Pianokultur und sicher geführten Ausbrüchen. Das toppt er dann noch im Finale: Mit den Worten „la maledizione / der Fluch“ endet eine hervorragende Vorstellung."

Andreas Schmidt, Klassik begeistert


06.2016 Deutsche Oper
Berlin

Aida - Paris 2016

“Dans le rôle pourtant bref d'Amonasro, George Gagnidze déploie une force animale à laquelle nul ne saurait résister. La voix est solide, projetée, égale d'un extrême à l'autre mais ce n'est pas tant l'instrument qui épate que l’engagement avec lequel ce père abusif se jette dans la mêlée vocale et orchestrale.”

Christophe Rizoud, Forum Opera

 

"… [le] superbe Amonasro de George Gagnidze, chaud dans la voix et dans les jeux d’intimité avec sa fille."

Vincent Guillemin, Altamusica


06.2016 Opéra Bastille
Paris

Tosca - Berlin 2016

“In the role of the main antagonist Scarpia we heard George Gagnidze who has a powerful dark voice with a very heroic but also elegant timbre. His performance was so convincing because of his good acting skills and a really thrilling performance full of emotion. During the second act his sadistic nature was really obvious but also the glowing desire for Tosca.”

Daniel Url, The Operatic Musicologist


11.2005 Staatsoper im Schillertheater
Berlin


facebooktwitter
youtube