Review

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27.06.2024

“George Gagnidze is outstanding as Shaklovity” in Berlin

Reviews are brilliant for the new production of Khovanshchina and George Gagnidze’s Shaklovity at the Staatsoper Unter den Linden:

“George Gagnidze is outstanding as Shaklovity… .”
Hugo Shirley, Opera Now

“Perfectly cast: George Gagnidze (Schaklowity)
“Absolutely perfectly cast was the boyar Shaklovity with the wonderful George Gagnidze, who provided the entire palette of sounds from melancholy to malice in the most varied nuances.”
Ursula Ehrensberger, Das Opernglas

“George Gagnidze was also fantastic as Shaklovity, with an incisive timbre and really sibylline accents in his work with the text.”
Alejandro Martinez, Platea Magazine

… a vocally and scenically imposing Shaklovity.”
Luis Gago, El País

“The singing is uniformly superb. The two warring basses (Mika Kares as Prince Iwan Chowansky and Taras Shtonda as high priest Dossifei) and their baritone rival Bojar Schaklowity (George Gagnidze) are all formidable… .“
Shirley Apthorp, Financial Times

“In the colors of villainy, George Gagnidze shows no restraint as Shaklovity.”
Jan Brachmann, Frankfurter Allgemeine Zeitung

“… the audience hanging spellbound on the lips of the consistently fabulous singers for three hours. At the end, it rises to an ovation.”
Eleonore Büning, Neue Zürcher Zeitung

“Of a high level was also George Gagnidze’s Boyar Shakovity by virtue of his robustness, generous vocal presence, and clever accents, with which he impeccably characterized such a sinuous and devious character.”
Raúl Chamorro Mena, Codalario

“George Gagnidze’s Shakovlity shone on each of his appearances, not only his moving account of Russia’s troubled history.”
Mark Berry, Seen and Heard International

“… a moving George Gagnidze… .”
Bojan Budisaljevic, Neue Musikzeitung

“In Mika Kares, Taras Shtonda and George Gagnidze the production boasted three commanding basses, each highly distinctive in tone but all able to convey the full dramatic force of their respective characters.
(…)
As Shaklovity, George Gagnidze had a lighter tone than Mr Shtonda and a more agitated manner than Mr Kares, but was nonetheless responsible for the evening’s most moving scene, a heartfelt monologue at the centre of the third act lamenting the recurring misfortunes and sufferings of a nation and its people.”
Jesse Simon, Mundo Clásico

“Shakovlity’s pean to the old order was passionately put across by George Gagnidze”
Carlos María Solare, Opera Magazine UK

“From Mika Kares as the vocally and dramatically powerful Ivan Khovansky and Najmiddin Mavlyanov as his son Andrei to Taras Shtonda as Dossifei and George Gagnidze as the boyar Shaklovity to the wonderfully mezzo-satisfying and touching Marina Prudenskaya as Marfa, all roles are excellently cast.”
Dr. Joachim Lange, Orpheus Magazine

“…and George Gagnidze’s Shaklovity, whose baritone was just as steady and reliable.”
Elena Luporini, Bachtrack

“Baritone George Gagnidze portrays the role of the Boyar Shaklovity with a self-confident, imposing presence.”
Zenaida des Aubris, Operawire & O-Ton

“… fascinatingly intriguing: George Gagnidze… .“
Berthold Seliger, Neues Deutschland

“… George Gagnidze as Boyar Shaklovity portrays a vivid villain… .”
Heike Franke, Opera Versum

“But Mika Kares as the power-hungry Prince Ivan Khovansky, George Gagnidze as Boyar Shaklovity, Najmiddin Mavlyanov as Andrei Khovansky, Andrei Popov as the Scribe and Evelin Novak as Emma also gave dramatically vivid and vocally outstanding performances.”
Dr. Ingobert Waltenberger, Online Merker

“… the large cast of singers includes a hand-picked ensemble of protagonists. … Taras Shtonda as Dossifei, and George Gagnidze as Boyar Shaklovity also have class.”
Dieter David Scholz, Opernfreund

“Taras Shtonda as Dossifei, George Gagnidze as Boyar Shaklovity, and a number of other smaller roles, all of which are well cast, complete an ensemble that appears extremely cohesive and leaves a very coherent overall impression.”
Peter Sommeregger, Klassik Begeistert

“I hadn’t heard George Gagnidze in a while and was surprised to find him here as Shaklovity. Actually, as I have always heard him in Verdi roles, this is the first time I hear him in a language other than Italian. … nobody will deny the impact of his voice in some very exciting climactic high notes.”
Rml, I hear voices

 

[Photo: Monika Rittershaus]

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