Nabucco – Verona 2017

“This Nabucco production was also important for the international cast: in the title role George Gagnidze, Georgian baritone internationally considered one of the best interpreters due to his wide vocal range, who had performed in Arena six years ago in La traviata. On the eve of the premiere Gagnidze had stated his wish to interpret Nabucco (coiffed and costumed as Franz Joseph) as a strong, authoritative and “powerful” ma, a promise he did not betray.”

Davide Orsato, Corriere del Veneto


“Great performance of baritone Gagnidze”

“ In the title role baritone Gagnidze expresses his art at his best singing with effective, technical and expressive subtleness, with a homogenous timbre and a jagged fraseggio to offer an all-around characterization.”

Gianni Villani, L’Arena


“The internationally renowned and Verdi-experienced Georgian baritone George Gagnidze is a vocally and scenically convincing Nabucco.”

Thomas Migge, Deutschlandfunk


“George Gagnidze in the title role does not manifest a particularly voluminous voice but sings with taste, without forcing, displaying a fine legato and making an attempt at giving a meaning to the text.”

Danilo Boaretto, OperaClick


“George Gagnidze’s comfortable voice delivery, the flexibility of the projection, and the copper nuances that adorns his top contribute to a more than satisfactory interpretation of the title role. The charism of the artist and his great musicality add to these assets [read our columns of 19 June 2016 and 3 February 2011].

Katy Oberlé, Anaclase


“George Gagnidze in this production becomes insane as a result of a gunshot wound to his head. The scene may be a little comic but thanks to the his great experience Gagnidze has not falled into the ridicule. His performance was good, he was incisive in his role and attentive to the details”.

Salvatore Margarone, Musicandosite


“Nabucco/Franz Josef is George Gagnidze who offers a hard, severe king gifted with a certain charisma that exalts his interpretative skills.”

Maria Teresa Giovagnoli, MTG Lirica


Nabucco had the interesting voice of George Gagnidze, in crescendo for effectiveness and stamina, even though he is more prone to introspection (his “Dio di Giuda” was remarkable than royal authority.”

Cesare Galla blog


“…The Nabucco of George Gagnidze displayed a vibrant singing, well controlled in the piano dynamics as well, aimed at restoring the authority and intensity of Verdi’s first great baritone role…”





Press review: “Gagnidze is superb” as Rigoletto in Atlanta

Excellent reviews for George Gagnidze's Rigoletto at the Atlanta Opera:




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:




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




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




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