“… 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

“In his house debut in the title role, George Gagnidze was a powerhouse, both physically and vocally. Vocally, he was in prime estate. The more bombastic moments were impressive, but equally so was his haunting singing in the mad scene and the other reflective passages Verdi composed for the Babylonian king.”
Rick Perdian, New York Classical Review

“What is most appealing about this revival is the consistently solid singing of the strong roster of performers in the principal roles.”
“Baritone George Gagnidze, in his Met role debut, portrayed the imperious Babylonian king of the title. Generous with power and in touch with most aspects of his character, he was most impressive in his Act 2 breakdown (“Non son più re, son dio”), the stunningly hubristic moment in which he declares himself divine, and in his Act 4 “Dio di Giuda”, where, humbled and despairing, he begs the god of Israel for forgiveness. “
Susan Stempleski, Bachtrack

“Portraying Nabucco was George Gagnidze, the Georgian baritone. My first memory of him dates to the 2007–08 season: he was Scarpia in a concert performance of Tosca (Puccini) by the New York Philharmonic. Gagnidze was smoky, virile, and explosive. He has been exploding in various Italian roles ever since. As Nabucco (a.k.a. Nebuchadnezzar), he was kingly and convincing.”
Jay Nordlinger, New Criterion

“Georgian baritone George Gagnidze as Nabucco lent credibility to a somewhat eccentric character by virtue of a voice gifted with a resonant timbre and easy high notes that allowed him to shine in “O prodi miei seguitemi”.”
Francesco Zanibellato, Operaclick

[Photo: Marty Sohl / Met Opera]