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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27.06.2024
“George Gagnidze is outstanding as Shaklovity” in Berlin
Reviews are brilliant for the new production of Khovanshchina and George Gagnidze's Shaklovity at the Staatsoper Unter den Linden:
Review
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01.05.2024
George Gagnidze a Macbeth of “round, harmonically rich vocality” in Bologna
“With Verdi, the Georgian baritone gets along fully: Rigoletto, Nabucco, Miller, Simone are also among his signature roles. He takes on the multifaceted figure of the usurping monarch with a round, harmonically rich vocality, naturally wide-ranged and generous -- at times even almost overflowing -- but well controlled…” Gilberto Mion, Teatro about George Gagnidze's portrayal of Macbeth at the Teatro Comunale of Bologna, April 2024.
Interview
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12.04.2024
Interview with GBOpera
George Gagnidze was interviewed by GBOpera. Among the many topics he spoke with Giorgio Bagnoli are his return to Italy, his debut at the Teatro Comunale of Bologna, and the role he is singing there, Verdi's Macbeth.
Review
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28.02.2024
George Gagnidze “delivers a magnificent Scarpia” in Las Palmas
George Gagnidze just brought his celebrated portrayal of Scarpia in Tosca to the Las Palmas Opera in Gran Canaria. Here below you will find a couple of reviews:
Review
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20.01.2024
“George Gagnidze excelled” as Nabucco in Live in HD from the MET
Reviews are out for the Live in HD performance of Nabucco from the Metropolitan Opera starring George Gagnidze in the title role:
