Interview
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04.01.2023
“Wunderbare Technik”
“Der in Tiflis geborene und dort auch ausgebildete Bariton debütierte im Jahr 1996 im Paliashvili-Opernhaus als Renato in »Un ballo in maschera«, war Preisträger des Leyla-Gencer-Wettbewerbs und des Elena-Obraztsova-Wettbewerbs und errang 2005 beim Concorso Voci Verdiane von einer Jury unter dem Vorsitz von José Carreras und Katia Ricciarelli den ersten Preis. Von Deutschland aus startete George Gagnidze dann seine internationale Karriere, die ihn innerhalb kürzester Zeit an viele wichtige Opernhäuser der Welt führte. Seit seinem sensationellen Debüt als Rigoletto an der New Yorker Metropolitan Opera im Jahr 2009 zählt er zu den führenden Sängern seines Fachs.”
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