Tosca – New York 2021

“Gagnidze held his own as Scarpia, conveying the character’s malevolence but also his aristocratic disdain.”

Anthony Tommasini, The New York Times  


“The Scarpia was Georgian baritone George Gagnidze, returning in a role he’s sung nearly thirty times at the Met. Gagnidze was the production’s reliable anchor, offering little in the way of surprises, but always fully committed to the character, singing it with the perfect combination of snarl, beauty and finesse.”

Steven Jude Tietjen, Opera News 


“Gagnidze, a newcomer to this production, took over the December Scarpias when Evgeny Nikitin canceled them just ahead of the dress rehearsal, and he gave a well-voiced, well-practiced account of the role.”

Patrick Dillon, Opera Canada


“Replacing an ailing Yevgeny Nikitin, Gagnidze was a fine Scarpia, imposing but not hammy. There was an inner life and drive to his singing as well, and this showed in contrast in his scenes with Jagde. While the tenor continued to outline his part, even in the crucial Act 2 confrontation, Gagnidze embodied the character’s sociopathic assurance. Scarpia sees Tosca as a social inferior that he can manipulate and dominate, and Gagnidze carried off that elitist disdain in his singing, with a bit of bravado and self-involvement.”

George Grella, New York Classical Review 


“As a late replacement for Evgeny Nikitin, George Gagnidze holds more than his own as the voluptuary sadist Scarpia, the part he had already been slated to take on in the MET’s January 2022 run of the opera. With his burly bass-baritone and hefty stage presence, he most effectively conveys the villain’s maniacal malevolence as well as his aristocratic arrogance.”

Susan Stempleski, Classical Source 


“An Imposing Scarpia

The role of Scarpia that evening was played by George Gagnidze, covering for Evgeny Nikitin. From his entrance amidst the churchgoers he struck an imposing figure, swiftly questioning the sacristan while backed by croaking bassoons, before coldly turning his sights on Tosca. This false affection was not heard so much vocally, but was seen through Gagnidze’s gestures and bearing; as he set Tosca off to find Cavaradossi, he began to reveal his possessive side as he hugged her, kissed her hand, then clutched at her scarf before finally letting her go. This emerging malice was explored in greater detail in his rendition of the “Te Deum,” which ran the gamut from hushed scheming to a sinister outpouring as the chorus gathered and built a vocal and visible camouflage.

His lines rang rich with hostility as he opened Act two with “Ha piu forte sapore,” in fine contrast with the relaxed and stately feel of the orchestra as Scarpia laid out his desires. While he held the power through most of the act, he made nice use of oilier tones as he propositioned Tosca, and his aggression built towards his fatal stabbing.”

Logan Martell, OperaWire 


“Baritone bass George Gagnidze replaced Russia’s Evgeny Nikitin at the last minute, who canceled due to illness. Gagnidze played a solid Scarpia with a great stage presence, very adept at covering the character’s evil with an aristocratic nonchalance that added credibility to the role. (…) Ganidge fulfilled his musical duties without problem and on the whole did not pale in comparison.”

Carlos Javier López Sánchez,




Press review: “Gagnidze is superb” as Rigoletto in Atlanta

Excellent reviews for George Gagnidze's Rigoletto at the Atlanta Opera:




EarRelevant feature: ‘Acclaimed baritone George Gagnidze reflects on “Rigoletto” ahead of Atlanta Opera debut’

George Gagnidze was interviewed by Melinda Bargreen ahead of his Atlanta Opera debut in the title role of "Rigoletto". Check out the feature on the following link:




Nabucco – New York 2023

“... the title king’s vulnerable plea for his daughter’s life (sung nobly on Wednesday by George Gagnidze)…” “Elijah Moshinsky’s “Nabucco” production has an old-school, 1980s throwback charm, with its imposing, multiuse unit set that turns on the Met’s revolving stage, even though it arrived at the company in 2001. It harks back to a time when singers were almost solely responsible for delivering the drama, and that’s what Gagnidze did: He shaped Nabucco’s full character arc with his baritone, from the sheeny resonance and dripping venom of a boastful king to the long, stately lines of a penitent one.” Oussama Zahr, The New York Times




Aida – New York 2023

"The size and clarity of George Gagnidze’s voice made for a particularly menacing Amonasro." “George Gagnidze’s menacing Amonasro was powerfully sung.” Rick Perdian, New York Classical Review




Rigoletto – Hamburg 2023

"The cast on March 17, 2023 was top-class in the main roles. George Gagnidze in the title role as Rigoletto was completely absorbed in the characterization of this “court jester”, who is by no means funny here, but rather a person who suffers and a father who only wants to protect his daughter from the outside world and the decadent court society. With his dark, expressive heroic baritone and his powerful performance, he came pretty close to being an ideal for Rigoletto." Wolfgang Schmitt, IOCO