Review
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13.07.2018
Otello – La Phil At Hollywood Bowl 2018
“Baritone George Gagnidze gave the finest singing as Iago, more sardonic than demonic perhaps, but always dramatic and true to character – a singer-actor with exemplary diction and fluid belcanto style. A huge man with a huge voice, Gagnidze was the only singer in the cast who actually tried to sound small and nimble.”
Truman C. Wang, Classical Voice
“Throughout the performance Gagnidze took delight in spinning his sinister plots, planting seeds of jealousy and mistrust, and serving the evil god he worships. His duets with Thomas, particularly the rousing Act III climax, were memorable.”
Jim Farber, San Francisco Classical Voice
“Iago can easily come across as a two-dimensional villain. But Gagnidze’s Iago was leavened by a humor that was a delight to experience (if that is not too weird a concept when talking about a villain). “Suave” and “ingratiating” are two of the comments I marked on my copy of the program. Gagnidze’s snigger at the end of “Credo in un Dio crudel” was a much better alternative to the demonic laugh which many baritones employ at the end of this number, undermining the serious darkness of Iago’s bleak view of life. His highly plosive’ “p’s” on the words “E poi? (i.e. “What next?” when considering the void after death)” were almost insolent toward the audience. And even though Iago and Otello have different voice-types, Gagnidze and Thomas came together in such unanimity in the second-Act finale, “Sì, pel ciel marmoreo giuro” that I couldn’t easily tell their timbres apart – aptly underscoring, to my mind, the fact that Otello had come across to Iago’s view of his wife.”
Gordon Wlliams, Operawire
“Likewise, George Gagnidze’s depraved Iago easily upstaged his Otello. Laughter borne from the blackest pits of the human heart, the cackling of evil incarnate, animated his splendid characterization.”
Néstor Castiglione, Bachtrack
Review
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01.12.2025
Press review “Khovanshchina” Staatsoper Berlin
Following the rave reviews for Claus Guth’s new production of Khovanshchina, featuring George Gagnidze as Boyar Shaklovity at the Staatsoper Unter den Linden in June 2024, the revival this November also received excellent notices internationally:
Review
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08.11.2025
Interview with Italian magazine Amadeus
For their November 2025 issue, Italian magazine Amadeus features an interview with George Gagnidze by Alessandro Cammarano. In the 2025/26 season, George Gagnidze takes on three major roles in Italy: after his acclaimed performances as Gianciotto in Francesca da Rimini at the Teatro Regio Turin, he will also appear in the title role of Macbeth at the Opera Carlo Felice in Genoa.
Review
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16.10.2025
Reviews “Francesca da Rimini” in Turin
“George Gagnidze as her husband Gianciotto was excellent...” Paolo Gallarati, La Stampa
Review
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10.10.2025
“L’Italia è la culla del mio repertorio”. L’intervista
di Giovanni Zambito - Il baritono George Gagnidze, tra le voci verdiane più autorevoli della scena lirica internazionale, si prepara a una nuova intensa stagione artistica che lo vedrà protagonista in Italia e all’estero. Dopo quasi 150 recite al Metropolitan di New York, Gagnidze tornerà nel Belpaese per tre appuntamenti di grande rilievo: Francesca da Rimini al Teatro Regio di Torino, Macbeth al Carlo Felice di Genova e Nabucco al Macerata Opera Festival. Parallelamente, sarà impegnato in importanti produzioni in Germania e Spagna, tra cui Der fliegende Holländer.
Interview
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04.07.2025
Interview for ORF TV
In the lead-up to the premiere of Der fliegende Holländer at the Oper im Steinbruch Festival, George Gagnidze spoke with ORF TV about his role and the production in St. Margarethen. The interview, along with rehearsal footage, can be viewed here:
