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
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
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 Reviews
"George Gagnidze ... singing with force. "
Robert Levine, Bachtrack.com
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
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
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
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
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