There were also two respectable debuts. George Gagnidze was a solid baritone who powered out the role of Iago (…)…. perfectly operatic and effective.”

Anne Midgette, The Washington Post

The protagonist of Iago, vital pillar of this opera, was sung by George Gagnidze who remained conistent in his vocal and scenic power, a baritone with a full, round timbre and compelling stage presence.

Esperanza Berrocal, Ópera Actual

“Somehow, these three, while following Shakespeare’s plot, round it out in their finest moments, especially Georgian baritone George Gagnidze as Iago, who renders his nihilistic “Credo” with such vehemence and violence that it clarifies the character beyond merely, in Shakespeare’s words, that “I hate the Moor.”
Gary Tischler, The Georgetowner

“In a city full of dastardly characters, ranking one above the other can be tough. But for the next two week’s there’s no competition with George Gagnidze’s Iago in Washington National Opera’s (WNO) Otello. (…).Making an impressive WNO debut, Gagnidze is manipulative, cunning, and tormented as Iago. His rich baritone voice is at its zenith during his internal monologue in Act II, where we see just how far his jealousy will drive him. Toying with Thomas’ Otello, Gagnidze’s Iago turns in a
performance Frank Underwood would be proud of. He’s vile and charming, intensely focused and unapologetic.

Benjamin Tomchik, broadwayworld.com

There were also two respectable debuts. George Gagnidze was a solid baritone (…)

N.N., nach-welt.com

DC Opera Review: WNO’s ‘Otello’

Playing it with satisfying menace and an interesting suggestion of the misogynistic bully, George Gagnidze is credible as the mean-spirited Iago, hellbent on driving Otello

into a jealous rage over Desdemona’s supposed infidelity. Gagnidze sings with a rich, driving baritone that delivers this ruthless man with a relentlessness that works we

Kate Wingfield, metroweekly.com

http://operagene.com/new-blog/2019/10/28/washington-national-operas-otello-that-darn-handkerchief

Also adding greatly to my enjoyment was George Gagnidze as Iago, a role he is known for internationally.  His highly polished baritone serves the characterization of Iago well.

N.N., http://operagene.com

http://wellsung.blogspot.com/2019/10/otello-at-wno.html

Appearing for the first time with WNO, regular Met fixture George Gagnidze’s assertive, even baritone soared through Iago’s music. His “Credo” offered plenty of throwback vocal grandeur, filling the house with charismatic sound and tossing off those big forte flourishes with ease.

Alex, http://wellsung.blogspot.com

https://bachtrack.com/de_DE/review-otello-david-alden-russell-thomas-crocetto-gagnidze-washington-national-opera-october-2019George

Gagnidze brought power and passion to the tricky role of Iago, one of opera’s most iconic villains. His extended dialogues with Otello were musically captivating (…).

Vishnu Bachani, https://bachtrack.com

Only the Iago of George Gagnidze came off convincingly at this Otello. (…) his pointed, meaty baritone thrust the text out into the theatre and across the stage.

Harry Rose, https://parterre.com/