Review

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20.01.2024

“George Gagnidze excelled” as Nabucco in Live in HD from the MET

Reviews are out for the Live in HD performance of Nabucco from the Metropolitan Opera starring George Gagnidze in the title role:

“But the titular character is Nabucco, and baritone George Gagnidze excelled. The part plunges into madness and back again, in the process converting Nabucco from despot (even Jehovah fears him, he thinks in the first act) to Jehovah-convert. Gagnidze has both vocal and dramatic needs to convey all of this, not just convincingly, but poignantly. He matched and perhaps just overtook the psychological angst of the great Leo Nucci in Daniele Abbado’s production (also with Monastyrska) at Covent Garden in 2013, review here).”
Colin Clarke, Seen and Heard International

“The title role is sung by George Gagnidze. His voice is vibrant and sonorous, and his secure vocal line has no problem getting through the speakers. He knows how to find the bite appropriate to Verdi’s style and the personality of his character. Quite convincing in the authoritative, despotic part of his role, with more declamatory passages, he is even more so in his moments of distress and vulnerability, where he finds touching piani nuances.”
Timothé Bougon, Ôlyrix

“Baritone George Gagnidze gives an outstanding performance as the arrogant king Nabucco who goes from sheer hubris (I am a god), to a brief mad scene, to a gentle convert to Judaism. A superb performance throughout.”
James Karas, Reviews and Views

“George Gagnidze has a fine Verdi style baritone voice. He sang with focus and sensitivity.”
Neil Kurtzman, Medicine Opera

“From this point of view, Nabucco gives a major role to the chorus, and this was the work to choose to underline this achievement. But Nabucco can also be nipped in the bud if the cast, led by an experienced or authoritative conductor (which was the case with Daniele Callegari), does not at least rest on a very solid Nabucco-Abigaille pairing. Fortunately, this was the case with Georgian baritone George Gagnidze and Ukrainian soprano Liudmyla Monastyrska…”
Christophe Huss, Le Devoir

 

 

 

Review

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07.06.2025

Première Loge interview: « J’aborde Verdi avec vénération et le plus grand respect… »

George Gagnidze recently spoke with Première Loge about his deep connection to Verdi and Rigoletto, the role he is currently singing at the Opéra national de Paris. The interview touches on his artistic journey, future projects, and his interpretation of one of opera’s most iconic characters.

Review

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01.04.2025

Interview with Appreciate Opera

George Gagnidze was interviewed by Alkis Karmpaliotis for the US publication Appreciate Opera. Below you will find a preview of the feature. To read the whole interview, you may click HERE.

Review

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20.03.2025

Interview for YouTube channel Kontextus

While in Budapest, George Gagnidze had a chat with the Hungarian YouTube channel Kontextus about his career, singing Verdi and Macbeth at the Hungarian State Opera:

Review

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01.03.2025

Interview with Bartók Radio Budapest

Before making his debut at the Hungarian State Opera in the title role of a new production of Macbeth, George Gagnidze spoke with József Bazsinka of Bartók Radio. Listen to the interview here:

Review

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15.11.2024

George Gagnidze is a “powerful, compelling, imposing” Rigoletto in Catania

"Giuseppe Verdi's opera conducted by an expert Verdian conductor. And the world of “courtiers” revolves around Gagnidze's voice.” "The poisoned world of ‘courtiers, vil razza dannata’ revolves around him, but he is the one who makes the scene-world revolve. And let us praise the Rigoletto of baritone George Gagnidze, Georgian, powerful, compelling, imposing Falstaff-like physique yet highly agile, mimetic, direct, ruthless, and broken. And what does it matter that he exhibits no mountainous humps or right-angle posture? His “diversity” is riveting and deadly. For everyone. He is a hypnotic “singing actor.” Gagnidze shows excellent declamation and phrasing and a remarkable word command. And all this is much more than a corollary to his expressive and happily “bulky” physicality that reminds one in no small part of Ambrogio Maestri, an immense exponent of the highest craftsmanship of theater in music.” “The magnificent “father” (of Gilda, ed.) Gagnidze!” Carmelita Celi, La Sicilia