Review

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13.10.2019

Otello – Washington 2019

In his WNO debut, the baritone George Gagnidze was a commanding presence both musically and dramatically, whose performance helps one understand why Verdi and Boito initially planned to call their opera Iago. From the frantic energy of the Act I drinking song, to his shattering interpretation of the iconic “Credo,” to the calculated guile of his conversations with Otello, Gagnidze was everything that one could have hoped for in this most complex of Shakespearean villains.
Richard Giarusso, DC Theatre Scene

 

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/

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:

Interview

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06.01.2024

Cover interview with Sinfónica

George Gagnidze is on the cover of the January issue of the Uruguayan magazine Sinfónica. In the interview, he speaks about his career, the current run of Nabucco at the Metropolitan Opera and much more.

Interview

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06.01.2024

Radio interview with BBC InTune

George Gagnidze spoke with BBC Radio 3 InTune about the role of Nabucco and the upcoming Live in HD cinema broadcast all around the world. On the following link you can listen to the interview (minute 41:50):