“… the malicious intrigue of the devious Iago, George Gagnidze”
Wilhelm Sinkovicz, Die Presse

“The French tenor had a stupendous partner in the baritone George Gagnidze, who had the part of Iago and interpreted it with vocal excellence, with an ample range of expression and bringing out the text extraordinarily. I am  tempted to say that without doubt this is the best I have heard Gagnidze to date.”

Alejandro Martínez Platea Magazine

“The baritone George Gagnidze who plays the role of the devilish Iago, has an identifiable vocal signature and plays a sober game with finesse. This production is an announced triumph.”
Jean-Christophe Mary, Paris Capitale Magzine

“George Gagnidze makes a solid Jago, always fair and expressive… [H]e knows how to raise the sound level when the score requires it, launching a thunderous credo…. ”

Tristan Labouret, Bachtrack

“Incisive, strong, and lively, he never lets the public come to like him.”

Max Yvetot Opera Gazette

“The Georgian baritone avoids all theatrical and vocal histrionism: the vocal effects are … effective. Served by a neat diction, his Iago is dark and worrying at will.”
Stéphane Lelièvre, Olyrix

“George Gagnidze makes an imposing Iago with a very composed physicality and character. …[T]he voice knows how to refine itself in the sotto voce while still retaining its intensity: the voice flows through the entirety of the Bastille constantly supported, leaning on the great roundness of dark toned vocal depth, stretching towards a lyrical treble. Gagnidze also saves his means and effects for the highlight of his part: the terrible impious Credo, with long and intense breath, cutting through the brass. The staging even presents this tune in a recital version: the black curtain falls behind Iago and a hand stretched from behind the scenes offers him a skull to which he addresses himself, thereby reinforcing the Shakespearean effect.”

Charles Arden Olyrix

“George Gagnidze … assumes and fully assures his role, further enhancing the intensity of his acting, the darkness of his vocal character as well as his ease and his knowledge of the mise-en-scène With wisdom, Gagnidze knows how to present his energy and his colossal stature. ”
Charles Arden, Olyrix

“George Gagnidze is still Iago, with the same qualities such as a great vocal command (for once, we hear the trills), a clear timbre (…) (…) It remains nonetheless that the electrifying finale of Act II, the duet with Gregory Kunde, is simply grandiose.”

Jean Michel Pennetier, Forum Opéra

” [T]he baritone is very convincing in the gall and duplicity thanks to a superb phrasing and a voice very well conducted, offering nuances that move away vociferous Iago.”

Steeve Boscardin, ResMusica

“Verdi had once thought of baptizing his opera” Jago “, as the whole plot is based on the officer’s schemes.True keystone and strategist of a sinister drama, Jago is interpreted by George Gagnidze, convincing because of his imposing stature and the dark accents of his timbre. He plays a more Machiavellian than demonic character, who manipulates the strings of evil and paralyzes the Moor’s clairvoyance, is happy about the fact that “the poison works”, then is delighted to see his endeavor carry his deadly results. (…) his voice is deep and sonorous, the light middle register has beautiful colors. ”

Quentin Laurens, WebThéâtre

“Georges Gagnidze plays an Iago who expresses his dark designs without difficulty and finds sufficiently perverse ways to play the sinister comedy that will lead Otello to his ruin….”

Paul Faurier, Toute La Coulture

“George Gagnidze also made his contribution with steady and secure voice”

Jaume Estapà, Opera Actual

“…and the viperous Iago of George Gagnidze”

Classica

“Baritone George Gagnize is a credible, devious and cunning Iago.”
Françoise Krief, Planete Campus

“For his part, George Gagnidze offers an honorable performance in Iago. He knows how to bring to the character that it takes sneakiness, even if its game remains very agreed. Gagnidze is excellent: his voice is more de-toned but wins in accuracy. The baritone is superb when he instils in Otello the poison of jealousy and doubt in his air “Era la notte, Cassio dormÌa ».
Floriane Goubault, Avant Scene OPÉRA

“The only spot on performance comes from George Gagnidze, Iago, who voluminous timbre is never clouded”
Vincent Guillemin, AltaMusica