Review
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13.11.2018
“It seemed like the role of Germont père was written for the Georgian George Gagnidze. Just like the role requires one could throughoutly enjoy noble Verdi singing after his fierce entrance scene.”
Sieglinde Pfabigan, Der Neue Merker
“Already at the beginning of the second act, Kurzak and baritone George Gagnidze, in the role of Giorgio Germont, were heavily acclaimed by the audience with sceams of “Bravi!”… (…)
It was thus the voices that raised the audience at the end of the performance, with reruns until October 26 and again between December 11 and 19, to thank Kurzak, Gagnidze and Jean-François Borras (Alfredo Germont), the sensitivity with which they embodied their characters.”
EFE, La Vanguardia
“It seemed like the role of Germont père was written for the Georgian George Gagnidze. After a fierce entrance, just as the role requires, one could throughoutly enjoy noble Verdi singing.”
Sieglinde Pfabigan, Der Neue Merker
“Already at the beginning of the second act, Kurzak and baritone George Gagnidze, in the role of Giorgio Germont, were heavily acclaimed by the audience with sceams of “Bravi!”… (…)
It was thus the voices that raised the audience at the end of the performance, with reruns until October 26 and again between December 11 and 19, to thank Kurzak, Gagnidze and Jean-François Borras (Alfredo Germont), the sensitivity with which they embodied their characters.”
EFE, La Vanguardia
“This Germont knows how to sing “Di provenza il mar il sol” dolce, and how to convince in his last phrases of remorse.”
Patrice Henriot, Opéra Magazine
“George Gagnidze sings a scrupulously nuanced Germont, with a finely modeled cantabile… .”
Didier van Moere, ConcertoNet
“George Gagnidze’s Germont is certainly traditional but effective…”
Alain Dualt, Opera Online
“To better achieve his goals and convince La Traviata to give up Alfredo, Giorgio George Gagnidze decided here to be immediately enveloping and caressing. He talks with his son using a very appropriate vibrato and his low notes are firmly set, even in the final tear of his remorse.”
Céline Wadoux, Olyrix
“George Gagnidze, (…), plays a severe Giorgio Germont, whose tone warms up as the character becomes human, which does not deprive him of being distressing during his duet with his son from the beginning.”
Audrey Bouctot, Forum Opera
“Giorgio Germont – George Gagnidze is a baritone who has been rightly acclaimed by the audience.”
Guy Courtheoux, Onsourtupas.fr
[Photo: Sebastien Mathé / Opéra national de Paris]
Review
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21.11.2023
Excellent reviews for George Gagnidze's Rigoletto at the Atlanta Opera:
Interview
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04.11.2023
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:
Review
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30.09.2023
“... 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
Review
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20.05.2023
"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
Review
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30.03.2023
"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