Review
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13.11.2018
La Traviata – Paris Opera 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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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
