“George Gagnidze, a veteran of his signature role, which he embodies masterfully with exemplary intelligence, (…) throws himself admirably into this demanding part: … showing no noticeable signs of age … he often reaches moments of true emotion, culminating in a faultless and particularly poignant finale.”
François Lehel, Opéra

“George Gagnidze blends seamlessly into the darkness of the title role. … he delivers a rugged, suitably somber tone that fits the character particularly well.”
Tancrède Lahary, Forum Opéra

“… strong projection, confident high notes, and unwavering dramatic intensity.”
Frédéric Epin, Ôlyrix

“… Georges Gagnidze, a seasoned interpreter of the role, brings this performance to a triumphant close, warmly applauded by an especially supportive audience.”
Helene Adam, Cult.news

“With a distinctive phrasing and a timbre at times reminiscent of Ludovic Tézier’s inflections, George Gagnidze throws himself wholeheartedly into the role of Rigoletto throughout the first act, already foreshadowing doom in the duettino with Sparafucile. And it would have continued in the same vein had he not announced, after the intermission, that he was unwell. His aria of recriminations perhaps lacks a bit of brilliance, occasionally retreating into parlando, but his exuberance and intensity command respect—particularly in his call for vengeance during the stretto of the duet with his daughter. It is a performance that would have stood strong even without the announcement, one that many of his peers would gladly claim as their own—though clearly not up to the high standards the artist sets for himself.”
Camillo Faverzani, Première Loge (premiere)

“On the evening of May 10, during the opening performance of this second run of Verdi’s masterpiece, George Gagnidze – who sings the title role of Rigoletto – had an announcement made before the Act II curtain rose: he was unwell but wished to carry on with the performance nonetheless. We were fortunate to hear him again under optimal conditions, and it seems fitting now to give him full credit. Let us not revisit the rest of the cast, which was largely consistent with previous performances. Instead, let us focus for a moment on the protagonist.
From the very first lines, the singer’s projection is assertive, his timbre darkening beautifully in the duettino with Sparafucile, as it should. The ensuing monologue is marked by refined phrasing, before opening up into the upper register, contradicting the madness of the premonition that already haunts him. Expressive in the first duet with his daughter, he conveys every shade of unease when entrusting her to Giovanna’s care—especially in the repeated strette (“Veglia, o donna, questo fiore”). His articulation is so precise that his cry of despair at the end of Act I becomes all the more heartbreaking, after realizing the cruel deception he has suffered.
In Act II, the denunciation of the courtiers unleashes the full force of his threat, though he continues to shade his voice with color as soon as he speaks of the girl, then again in the supplication, and finally as he drives his tormentors away. His reunion with his now-defiled daughter is distinguished by a careful balance of defiance and comfort, the *vendetta* in the *allegro* first whispered, then blooming into full-throated indignation.
The tone turns combative once more in the quartet led by the Duke (“Bella figlia dell’amore”), while the father’s doubled anguish is conveyed through an exemplary mastery of declamatory singing—despite a slight loss of spontaneity upon discovering the dying body of his beloved daughter.”
Camillo Faverzani, Première Loge (another performance)