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




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