“Celebrating the centennial of the work’s world premiere, at the Met on Dec. 14, 1918, this was a very fine “Trittico,” particularly the disconsolate “Il Tabarro,” inflamed by Amber Wagner’s big, creamy soprano, Marcelo Álvarez’s effusive tenor, and George Gagnidze’s grim, moody baritone”

Zachary Woolfe, The New York Times

“About the only excitement was sparked by soprano Amber Wagner and baritone George Gagnidze as the miserably married Giorgetta and Michele. These two, plus Blythe, were the only singers who mustered the wallop that only king-sized voices can deliver in a huge theater like the Met.”

James Jorden, Observer

“Rounding out the tortured love triangle was George Gagnidze’s moody Michele. His palpable pain at the realization of his double loss (first his child, now his wife) kept him from being a villain, and his mellifluous tone reinforced his humanity.”

Joanne Sydney Lessner, Opera News

“… George Gagnidze was an impressive Michele.”
Eduardo Brandenburger, Ópera Áctual

“The smoldering, menacing Michele of George Gagnidze overwhelmed Amber Wagner and Marcelo Álvarez as the illicit lovers.”

Patrick Clement James, Parterre.com

“… George Gagnidze is chilling in Michele’s soliloquy vowing to kill his wife’s as-yet unidentified lover.”

David M. Rice, ClassicalSource

“George Gagnidze’s rough-edged baritone is just right for the enraged Michele.”

Robert Levine, Bachtrack

“Baritone George Gagnidze is an unhappy and somber Michele, roused to anger and revenge when he discovers the identity of his wife’s lover.”

Operametro.com

“… very good voices (Amber Wagner’s firm, rich soprano as Giorgetta, George Gagnidze as Michele).” (…)

“George Gagnidze’s rough-hewn baritone was a good match for Michele.”

Humbled and Overwhelmed Blog

“George Gagnidze … menacing as ever … a harrowing delivery of his chilling monologue “Nulla! Silenzio!,”… .”

Eric C. Simpson, New York Classical Review

“El barítono georgiano administró sus recursos con sabiduría y llenó el escenario sin dificultades para cuajar un Michele de altura. Su éxito fue indiscutible.”

Carlos Javier Lopez, OperaWorld

“… imponente y bien caracterizado en el papel del brutal Michele. Sin duda cuando grita «La pace è nella morte!» al final de su monólogo evoca una presencia temible.”

David Yllanes Mosquera, Codalario