George Gagnidze Press and Review
Reviews    -   

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

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

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

06.2017 Arena

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,

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

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