Review
|
10.04.2022
Macbeth – Valencia 2022
“An interesting voice with a beautiful timbre… at the end of the banquet scene, he soared above those in the pit and on stage. He grew a lot in the tremendous duo with his wife, who gave him an appropriate reply and where he was met with an extremely intense orchestra. He is without a doubt a bel-canto singer who reached the peak of his performance in the aria “Pietà, rispetto, amore”, in a display of legato singing and intentional phrasing.”
Antonio Gascó, Codalario
“…The Georgean George Gagnidze. The truth is that the Tiflis born singer has a full-bodied, robust voice in his high register…”
Francisco Bueno Camejo, Valencia News
“… the Georgian baritone showed a correct and cultivated voice. And yes, in his interpretation of the difficult character, he put a point of hallucination…. .”
Enrique Herreras, Cartelera Turia
“George Gagnidze and Anna Pirozzi provide great opera at the sold-out Palau in Valencia”
The interpreters of the leading roles must be able to show off powerfully across choirs in large ensembles, to sing Belkantesque ornaments and, in chamber music moments, to intone, breathe and whisper expressive pianissimi, completely lost in themselves.
Both the full-blooded Italian Anna Pirozzi and George Gagnidze can do that. (…) He is a master, who characterizes with the finest details the weak general and later King, plagued by remorse and hallucinations.”
Dr. Ingobert Waltenberger, Der Neue Merker
“… he crowned, with ‘Pietá, rispetto, onore’, a performance that deserved the enthusiastic applause of the audience.”
Federigo Figueroa, ProÓpera
[Photo: Artsfotografia – Les Arts]
Review
|
21.11.2023
Press review: “Gagnidze is superb” as Rigoletto in Atlanta
Excellent reviews for George Gagnidze's Rigoletto at the Atlanta Opera:
Interview
|
04.11.2023
EarRelevant feature: ‘Acclaimed baritone George Gagnidze reflects on “Rigoletto” ahead of Atlanta Opera debut’
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
|
30.09.2023
Nabucco – New York 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
|
20.05.2023
Aida – New York 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
|
30.03.2023
Rigoletto – Hamburg 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
