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


“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




Press review: “Gagnidze is superb” as Rigoletto in Atlanta

Excellent reviews for George Gagnidze's Rigoletto at the Atlanta Opera:




EarRelevant feature: ‘Acclaimed baritone George Gagnidze reflects on “Rigoletto” ahead of Atlanta Opera debut’

George Gagnidze was interviewed by Melinda Bargreen ahead of his Atlanta Opera debut in the title role of "Rigoletto". Check out the feature on the following link:




Nabucco – New York 2023

“... the title king’s vulnerable plea for his daughter’s life (sung nobly on Wednesday by George Gagnidze)…” “Elijah Moshinsky’s “Nabucco” production has an old-school, 1980s throwback charm, with its imposing, multiuse unit set that turns on the Met’s revolving stage, even though it arrived at the company in 2001. It harks back to a time when singers were almost solely responsible for delivering the drama, and that’s what Gagnidze did: He shaped Nabucco’s full character arc with his baritone, from the sheeny resonance and dripping venom of a boastful king to the long, stately lines of a penitent one.” Oussama Zahr, The New York Times




Aida – New York 2023

"The size and clarity of George Gagnidze’s voice made for a particularly menacing Amonasro." “George Gagnidze’s menacing Amonasro was powerfully sung.” Rick Perdian, New York Classical Review




Rigoletto – Hamburg 2023

"The cast on March 17, 2023 was top-class in the main roles. George Gagnidze in the title role as Rigoletto was completely absorbed in the characterization of this “court jester”, who is by no means funny here, but rather a person who suffers and a father who only wants to protect his daughter from the outside world and the decadent court society. With his dark, expressive heroic baritone and his powerful performance, he came pretty close to being an ideal for Rigoletto." Wolfgang Schmitt, IOCO