Pagliacci (New York, Metropolitan Opera)

»George Gagnidze presents a Tonio both pathetic and oddly sympathetic, his voice warm and oaky. Beautiful, subtle phrasing made his Prologue emotionally trying, in spite of the sight gap that McVigar employs to define the opera's comic elements.«

                                    New York Classical Revue, 22.01.2016, Eric C. Simpson

Rigoletto (New York, Metropolitan Opera)

»As Rigoletto George Gagnidze again demonstrated why he is in the top rank of current baritones. He captured all of the hunchback/comic's mood swings, from his bitter humor toward Monterone to his tender duet with his daughter, to his rage at the courtiers who kidnapped her.«

                                      , 01.11.2015, Barry Bassis

»Gagnidze is a natural as Rigoletto. No hunchback, he towered over everyone else in the cast except for Kocan. Gagnidze has been a strong Scarpia in the past, with an aura of gleeful malevolence, and the same quality, turned on its side, shows him as a natural clown, of the vicious variety. He sang with an aggressive edge to his voice, even his lament "Quel vecchio maledivami." At his most human, the first Act duet with his daughter Gilda, Gagnidze sang with a warm, expressive tone.«

                         , 21.10.2015, George Grella

»In the title role, the baritone George Gagnidze husbanded much of his power and pathos until the final act. In duet he was an attentive partner to Ms. Peretyatko, and his increasingly desperate interactions with the chorus of jeering courtiers in Act II held an affective mix of vulnerability and bluster.«

                        , 21.10.2015, Corinna da Fonseca-Wollheim

»George Gagnidze has sung the title role around the world and remains a solidly gifted Verdi baritone. His vocal range readily matched the character's searing emotional spin.«

                                     , 20.10.2015, Paul du Quenoy

»As the hunchback clown, Rigoletto, George Gagnidze is charismatic, striking the right balance between sad and strong.«

                                             , 2015, Marcina Zaccaria

Cavalleria rusticana / Pagliacci (New York, Metropolitan Opera)

»And George Gagnidze's Tonio may be the most moving interpretation of the part I have seen, with a magnificent rendering of the Prologue, Leoncavallo's artistic credo, and musically inspired.«

                                                      The Spectator, 02.05.2015, Michael Tanner

»George Gagnidze took on the two roles of Silvio and Tonio and showcased argually his best work at the Met in his career. His voice has a rather arid color, but it suited the rugged Silvio and deformed Tonio wonderfully.«

                                                             Latin Post,c30.04.2015, David Salazar

»Mr. Gagnidze brought a mean, dangerous edge to Tonio; even his lyric singing had bite.«

                                  , 15.04.2015, Heidi Waleson

»George Gagnidze as Alfio was appropriately brutal and coarse as a village bully.«

                                            , 15.04.2015, Ako Imamura

»And in another double performance, the Georgian baritone Gagnidze is admirable both as Alfio in Cavalleria and as Tonio on Pagliacci.«

                                   , 15.04.2015, Wilton Hampton

»Cast in both "heavy" leads, George Gagnidze confirmed himself, if no Golden Ager, at least a fully qualified heavyweight baritone, something painfully rare on the Met stage in recent weeks.«

                           , 15.04.2015, David Shengold

»Baritone George Gagnidze makes a strong impression as both the wronged husband Alfio in "Cavalleria" and the malicious Tonio in "Pagliacci".«

                                       , 19.04.2015, Barry Bassis

Pagliacci (Los Angeles, LA Opera)

»...George Gagnidze a formidable Tonio...«

                                 , 12.09.2015, Timothy Mangan

»Georgian baritone George Gagnidze is a commanding presence as clown narrator Tonio.«

                                                          , 09/2015

»Gagnidze captured the coarse rapacious quality of Tonio.«

                                        , 14.09.2015, Jim Farber

»Also worth noting was George Gagnidze as the vindictive Tonio...«

                                  , 21.09.2015, Arya Roshanian

Simon Boccanegra (Hamburg, Staatsoper)

»George Gagnidze und Barbara Frittoli bestechen gemeinsam durch gestalterischen Geschmack und feinsinnige Pianokultur: der Georgier mit dem mürben Timbre seines verschatteten, echt edlen Baritono nobile, die Italienerin mit stupender Atemkontrolle...«

                                                                     Die Welt, 09.06.2015, Peter Krause

»Bei Gagnidze klingt er (Simon) eher abgeklärt, skeptisch, nüchtern - mithin lebensklug. Gagnidzes gesangliche Interpretation des Titelhelden passt hervorragend zu dieser, ihn und den Zuschauer vom Geschehen klug dissoziierenden Inszenierung.«

                                       , 08.06.2015, Christa Habicht

Otello (Hamburg, Staatsoper)

»Die perfide Ader des Intriganten Jago wurde von George Gagnidze trefflich vermittelt. Gesanglich wurde er mit seinem markanten, italienisch geprägten Bariton seiner Partie ebenfalls gut gerecht.«

                              , 05.10.2013, Ludwig Steinbach

Cavalleria rusticana (Wien, Staatsoper)

»Bariton George Gagnidze überzeugte als Fuhrmann Alfio.«

                                                                           Kurier, 27.02.2014, Luise Hahn

»Am besten zog sich George Gagnidze aus der Affaire, sein kerniger und durchschlagskräftiger Bariton dominierte das Geschehen nach Belieben.«

                            , 25.01.2014, Johannes Marksteiner

»...dass mit diesem Alfio nicht zu spaßen ist und er umweglos zur blutigen Tat schreitet, das strahlt er jede Sekunde aus.«

                                      , 25.01.2014, Renate Wagner

Aida (Milano, Teatro alla Scala)

»George Gagnidze incarne un Amonasro de belle tenue vocale, et plus sobre que nombre de ses confrères.«

                                   , 24.02.2015, Jean-Marcel Humbert

»George Gagnidze ha dato vita ad un Amonasro di buon livello, sicuro e concreto.«

                                          , 23.02.2015, Domenico Gatto

»Darstellerisch brilliert an diesem Abend wirklich das ganze Ensemble: Neben Gagnidze und der weltweit derzeit wohl meistbeschäftigten Aida auch die machtvolle Amneris von Anita Rachvelishvili.«

                                       , 16.02.2015, Wilhelm Sinkovicz

Aida (New York, Metropolitan Opera)

»Gagnidze sang with forceful charisma, and his restless presence was refreshing.«

                                 New York Classical Review, 27.12.2014, George Grella    

»To complete the wonderful performance of these singers was George Gagnidze as Amonasro, a baritone who has both the experience and the vocal capacity to carry this role. A delightful Rivedrai le foreste imbalsamate brought to life the ambiguity of the character who is more concerned with his revenge than with his daughter's happiness.«

                         Brooklyn Downtown Star, 03.01.2015, Tiziano Thomas Dossena

Nabucco (Orange, Chorégies d'Orange)

»La distribution permet de découvrier le baryton georgien George Gagnidze... Verdien de bonne facture au physique imposant et à la musicalité soignée, il est sans conteste un Nabucco convaincant.«

                                              , Juli 2014, Serge Alexandre

»Quant à l'affiche, L'imposant baryton géorgien George Gagnidze interprétait le rôle-titre de Nabucco. Cette force de la nature à la carrure imposante n'a pas manqué de souffle, ce qui lui a valu les acclamations du public.«

                                     , 15.07.2014, Virginie Dubreuil

Aida (Berlin, Staatsoper Unter den Linden)

»Aus dem Ensemble ragte einzig George Gagnidze als äthiopischer König Amonasro mit perfekt sitzendem und wunderbar kontrolliert und eindringlich gestaltendem Bariton heraus. Dies schien auch das am Ende doch durchaus enden wollend applaudierende Publikum zu spüren, Gagnidze bekam auffallend viele Bravi bei seinem Einzelvorhang.«

                                  , 15.02.2014, Kaspar Sannemann

Tosca (New York, Metropolitan Opera)

» will agree that George Gagnidze ist the most evil and repulsive Scarpia you have ever heard or seen in the role. He is just wonderful.«

                                   , 01.11.2013, Larry Murray

»Die Hauptrollen sind mit Patricia Racette (Tosca) und Roberto Alagna (Cavaradossi) und George Gagnidze (Scarpia) hervorragend besetzt. Vor allem Gagnidze überzeugt sängerisch wie auch schauspielerisch.«     

                                          Badische Zeitung, 12.11.2013, Juliane Eiland-Jung

 »El barítono George Gagnidze se ha convertido en uno de los mejores Scarpia de los últimos años; se planta bien en el escenario, tiene una presencia imponente, su papel le sienta de maravilla. Ciertamente encarnó a un personaje oscuro, extraído del las cloacas y que, pese a ser un villano (a veces a los "malos" no les va bien con el público), esta vez consiguió una gran ovación.«

                                           El Economista, 11.11.2013, Ricardo Pachero Colin 

 »Gagnidze's commanding baritone gave a fearsome malevolence to Scarpia.«

                       , 30.10.2013, Wilborn Hampton          

»The baritone George Gagnidze's voice is less than thunderous, and the direction tended him upstage... He was nonetheless an imposing, menacing Scarpia. He has a fabulously round, full-bodied tone that lets him sing his more lyrical strains rather than just grating through them for dramatic effect. In the first act he showed subtle flashes of genuine concern over Tosca's distress, lending a dash of humanity to a role that is often flatter than drywall.«

                     , 30.10.2013, Eric C. Simpson

Rigoletto (Aix-en-Provence, Festival International d'Art Lyrique)

»George Gagnidze est un très bon Rigoletto - role dônt il est un des meilleurs spécialistes.«

                                                    ResMusica, 14.07.2013, Maxime Kaprielian  

»George Gagnidze, an experienced Rigoletto, phrased his lines with loving care.«

                                                 Opera News, Oktober 2013, Stephen J. Mudge

»George Gagnidze als Rigoletto vermittelt einfühlsam die Tragik seiner Rolle. Das Publikum hat wenige Aufführungen so gefeiert wie diese Oper im Festival d'Aix-en-Provence.«

                                            , Juli 2013, Georg J. Vigier

»George Gagnidze's expressive, resonant baritone and insightful phrasing made for an uncommonly persuasive portrayal of the jester.«

                                             , 23.07.2013, George Loomis

»Overall, this is a solid cast led by George Gagnidze's finely nuanced performance in the title role.«

                                                   Financial Times, 08.07.2013, Shirley Apthorp

»Dégaine de prolo sous un déguisement de pierrot clownesque, le baryton géorgien George Gagnidze a, pour ce rôle écrasant et formidable, les épaules aussi larges que la voix. Son Rigoletto est le premier triomphateur de ce spectacle puissant.«

                                               , 05.07.2013, Gilles Macassar

»C'était une première attendue : un grand Verdi!... La distribution, dominée par la stature tragique du baryton géorgien George Gagnidze...«

                                             , 05.07.2013, Marie-Aude Roux

»Beeindruckend, zuletzt - man scheut sich fast, das Wort auszusprechen - "ergreifend" singt George Gagnidze die Titelpartie, zumal die mit Andeutungen zum Missbrauch angereicherten musikalischen Zweisamkeiten mit der Tochter.«

                                           , 05.07.2013, Frieder Reininghaus

»The cast is leaded by George Gagnidze in the title role. He's very good as are the other principals.«

                                    , 13.07.2013, Neil Kurtzman

»Sur les chanteurs qui interviendront à Genève, on espère bien retrouver... le Rigoletto bouleversant d'intensité de George Gagnidze...«

                                                 Tribune de Genève, 09.07.2013, Sylvie Bonier

»Grandios und mit erprobter Stimmgewalt füllt dagegen George Gagnidze die Rolle des Narren und vor allem des besogten, liebevollen Vaters aus... Ein von Robert Carsen gemachter Zirkus-Rigoletto gehört auf die Habenseite von Verdijahr und Festspieljahrgang. Überzeugen konnte vor allem der Sänger der Titelpartie.«

                                          Online Musik Magazin, 15.07.2013, Roberto Becker

»Im Zentrum und für den Publikumserfolg des Abends entscheidend ist zweifelsohne George Gagnidzes Rigoletto. Für die Thüringer Opernfreunde, die den Weltklassesänger selbst in der Rolle in Karsten Wiegands intelligenter Inszernierung bestaunen durften, ist das nichts Neues. Dieser Mann hat auch in Aix-en-Provence eine vokale und darstellerische Bühnenpräsenz, die ihn zum Zentrum der Aufführung macht. Als williger Helfershelfer des Herzogs, als trauriger Clown und Zyniker wider besseren Wissens, vor allem aber als überfürsorglicher Vater. Gagnidze verkörpert jede Facette dieser Rolle mit vollem Einsatz und bewältigt ebenso souverän den Wechsel zwischen den emotionalen Aggregatzuständen. Wenn er auf der Bühne ist, dann kann dem auch der von Carsen entfesselte Zirkus nichts anhaben.«

                                   Thüringische Landeszeitung, 16.07.2013, Joachim Lange

»Regisseur Robert Carsen verlegte die Opernhandlung kurzerhand in ein Zirkusrund. Rigoletto (großartig singend und gestaltend: George Gagnidze) wird zum "Akrobat Nicht-Schön".«

                              Frankfurter Allgemeine Zeitung, 15.07.2013, Gehard Rohde

»Man freute sich an der blendenden Irina Lungu als Gilda, an einem erstklassigen Rigoletto von George Gagnidze und an Arturo Chacon-Cruz als Duca...«

                                        Neue Zürcher Zeitung, 18.07.2013, Alfred Zimmerlin

»Baritone George Gagnidze made a marvelous Rigoletto. His deep mellow voice was full of pathos and he was magnificent as the clown whose heart is breaking.«

                                            , 10.07.2013, James Karas

»Der Kanadier Robert Carsen, der einst von Südfrankreich aus zu seiner europäischen Karriere durchstartete, findet allemal die Balance zwischen großen opulenten Bildern und einer zündenden Idee. Den Rigoletto des in jeder Hinsicht erstklassigen George Gagnidze macht er zum traurigen Clown, den Hof von Mantua verlegt er in einen Zirkus.«

                               Dresdner Neueste Nachrichten, 20.07.2013, Joachim Lange

»The Georgian baritone George Gagnidze gives a big-scaled and often moving account of the jester's heart-rending music..."

                                                 The Sunday Times, 21.07.2013, Hugh Canning

»Der Hofnarr (schwerfällig, brachial, doch in seiner hilflosen Wucht anrührend: George Gagnidze) als traurig-grausamer Clown, der seine Tochter als chancenlose Sexpuppe in der Machomännerwelt des modernen Oligarchenherzogs schon zu Anfang vor den roten Vorhang schleift.«

                                                        Opernwelt, Sept./Okt. 2013, Manuel Brug

Rigoletto (New York, Metropolitan Opera)

»George Gagnidze gave perhaps the best sung performance of the title role that I've ever heard.«

                             , 23.04.2013, Michael Portantiere

»Gagnidze has a big, beafy voice with flexibility that allows him to crest over the orchestra in Rigoletto's climactic outbursts of rage and despair and still display a softer-grained tenderness when he joins Oropesa in the opera's great father-daughter duets.«

                                              , 17.04.2013, Mike Silverman

Nabucco (Palermo, Teatro Massimo)

»Gagnidze è un eccelente Nabucco.«                               

                       , 27.03.2013, Monika Prusak  

»George Gagnidze risponde bene alle intenzioni, impegnandosi nella resa scenica del personaggio e mantenendo nel corso dell'opera un profilo vocale alto e rotondo.«

                                              , 25.03.2013, Ilaria Grippaudo

»Gagnidze ha grandi mezzi e una bella musicalità come mostra dalla follia in poi quando diventa più riflessivo: muta il timbro che diviene appunto meno ispido.«                                               

                                               ,25.03.2013, Piero Violante

Macbeth (Genova, Teatro Carlo Felice)

»Straordinario il giovane baritono George Gagnidze: una gran voce, usata con intelligenza in un'ampia gamma di soluzioni.«

                                                   La, 04.02.2012, Roberto Iovino

»Bravissimo George Gagnidze (Macbeth), interpretazione impeccabile, intenso, drammatico, un protagonista con uno spessore davvero "verdiano", ben presente in scena e attento agli aspetti più sottili e delicati della disturbata personalità del protagonista; il tutto accostato ad un timbro vocale e ad una musicalità estrema, con cui si è guadagnato gli applausi più lunghi e sentiti del pubblico.«

                                          , 22.01.2013, Barbara Catellani

»George Gagnidze ha dato una prova sicura e convincente, molto applaudita.«

                                         , 24.01 2013, Claudia Sugliano

Tosca (Los Angeles, Segerstrom Concert Hall)

»Georgian baritone George Gagnidze showed how it was done with Scarpia, smoothly and eloquently evil, looking a bit like Mussolini. With the Pacific Chorale blazing away and the Southern California Children's Chorus assisting, he raised the roof with the Te Deum at the end of Act One.«

                                        , 22.02.2013, Timothy Mangan

»Among the principals, Georgian baritone George Gagnidze made the biggest impression with his booming, authoritarian Scarpia, who could also ooze false galantery.«

                                            , 22.02.2013, Richard S. Ginell

Aida (New York, Metropolitan Opera)

»The role of the Ethiopian king, Amonasro, sung by George Gagnidze, is short and sweet. In only an act and a half Gagnidze stirs up the action with his fierce portrayal. Monastyrska fed off Gagnidze's engrossing energy in the Act III father-daughter duet and the two heavy, dramatic voices complimented each other to gripping affect.«

                                           , 17.01.2013, Melanie O'Neill

»Georgian baritone George Gagnidze was Amonasro... He has a fine dark voice which fully conveyed the captive Ethiopian king's anger and then paternal tenderness.«

                                 , 15.12.2012, Neil Kurtzman

»Hay que destacar, además, el baritono georgiano George Gagnidze, con su impecable aunque breve interpretación del rey etíope Amonasro, padre de Aída, y que lució energia y desplante para un rol muy verdiano.«

                                      , 17.12.2012, Johnny Teperman

»... the Ethiopian King Amonasro, sung majestically by George Gagnidze...«

                            , 18.12.2012, Dwight Casimere

»Da fällt es schon sehr positiv auf, mit welchem Einsatz sich George Gagnidze in die Rolle des Amonasro wirft. Auch stimmlich ist er mit seiner vehementen Attacke ein Pluspunkt des Abends.«

                                  , 15.12.2012, Christoph Broermann

»El baritono georgiano George Gagnidze puso al servicio del rol de Amonasro una voz caudalosa, de gran fluidez y expresividad.«

                                  , 15.12.2012, Horacio Tomalino

Tosca (Milano, Teatro alla Scala)

»George Gagnidze bella voce di baritono, convinta e sicura nel ruolo.«

                                                     Il Corriere Musicale, 04.05.2012, Laura Bigi

»...le baryton n'en campe pas moins un chef de la police romaine fort honorable sur le plan vocal et particulièrement retors sur le plan scénique.«

                                        , 22.04.2012, Claudio Poloni 

»Di buon livello George Gagnidze nel barone Scarpia.«

                                  , 13.05.2012, Cesare Guzzardella

Khovanshchina (New York, Metropolitan Opera)

»George Gagnidze's elemental Shaklovity represented his best Met work thus far.«

                                              Opera News, 01.03.2012                                  

»George Gagnidze's Shaklovity showcased an especially splendid yet sinister contribution.«

                               , 27.02.2012, Paul du Quenoy

»There were strong performances, too, from artists familiar to the Met, particularly baritone George Gagnidze as the ceepy secret agent Shaklovity.«

                                                      New York Post, 01.03.2012, James Jorden

»The Georgian baritone, George Gagnidze, balanced Shaklovity's role as a desperate intrigant and furtive villain, with strong singing in a dark timbre.«

                                               New York Arts, 13.03.2012, Roza Tulyaganova 

La Traviata (Verona, Arena di Verona)

»The strongest cast member here was George Gagnidze as Giorgio Germont.«

                                   , 04.08.2011, Sandra Gajic

»Mais le grand triomphateur de la soirée est le géorgien George Gagnidze, peut-être moins connu sur le plan international (il a néanmoins chanté à Paris dans Francesca da Rimini), et qui débute aux Arènes, où il chante en alternance Giorgio Germont et Nabucco. La voix est somptueuse, l'interprétation musicale prenante, et il donne la cabalette souvent coupée de la fin 2e acte; pour une fois, le rôle échappe au ridicule, on y croix vraiment: c'est un chanteur que l'on a envie de revoir.«

                               , 04.08.2011, Jean-Marie Humbert

Rigoletto (Los Angeles, LA Opera)

»George Gagnidze was a blunt and brutal Rigoletto. One could easily imagine his less-than-subservient manner inciting the courtiers to kidnap his daughter. He tore into Verdi's score with a gruff intensity which never flagged and his "Cortigiani", in which he hurls powerless invective at the men who bar his efforts to save Gilda from the Duke, was thrilling. This was authoritative and musical singing of the highest dramatic order.«

                     , November 2010, Michael Van Duzer

»Rigoletto is one of George Gagnidze's signature roles, and the baritone brings strong acting ability to his singing skills. His cruelty and his love for Gilda are both vividly depicted.«

 CurtainUp, 02.12.2010, Laura Hitchcock 

»Georgian native George Gagnidze, making his company debut in the title role, sustained with ease the high tessitura of the baritone role through an emotional journey from callous, energetically cynical courtier, to cursed, helpless father. In the process he created a repugnant Rigoletto of genuine pathos.«

LA Opus, 11.12.2010, Robert Millard

»The cast is led by baritone George Gagnidze as Rigoletto. Gagnidze, who recently sang the role at the Metropolitan Opera in New York, dominates the stage with his hulking presence and commanding vocalization.«, 02.12.2010, Jim Farber

Rigoletto (New York, Metropolitan Opera)

»Georgian baritone George Gagnidze dominated the performance with an authoritative interpretation of the title role. His fine dramatic skill and burly physique captured the pathos of the alienated hunchback and outraged father, while his excellent line delivered the music of this quintessential Verdi baritone role with passion and verve.«

                                        , 12.10.2010, Paul du Quenoy

 »Playing the title character was the stunningly talented George Gagnidze. Beautifully acted, amazingly sung, Mr. Gagnidze is a force on stage. He is perhaps one of the world's best Verdian baritones of this or any generation. His performance stood head and shoulders above his colleagues. Simply put, he is Rigoletto.«

                                            , 08.10.2010, Jake Johansen

Rigoletto (Wien, Wiener Festwochen)

                                                                                        Kurier, 30.05.2011

»George Gagnidze gibt die Titelfigur mit brachialer Hingabe. Dieser Rigoletto ist eine erbarmungswürdige Kreatur, verschanzt hinter seinem grausamen Humor, erpresserisch in der Angst um die Tochter und kleinlich in seinem Zorn. Stimmlich steigerte sich Gagnidze durch den Abend und gibt mit Chen Reiss als Gilda ein packendes Vater-Tochter-Gespann.«

                                                                                         APA, 30.05.2011  

Simon Boccanegra (Madrid, Teatro Real)

»In only the second performance of his role debut as the Doge Boccanegra, George Gagnidze turned in a stunning performance. The role seems to lie perfectly for his voice, which met all the demands of this challenging role from its deepest sonorities to haunting mezza voce and soaring pianissimi with clear natural production and superb legato throughout. Boccanegra is by turns a younger lover, a doting father, a strong-willed ruler and finally, an almost Christ-like disciple of love and forgiveness. Gagnidze rises to all the challenges dramatically and vocally. His Simon was regal and powerful, while always remaining eminently human. With his dark rich timbre, seemingly effortless lyricism, full command of dynamic nuance, and fine dramatic skills, Gagnidze was a profoundly moving and beautiful Boccanegra.«

                       , 17.07.2010, Arlene Judith Klotzko

»Vocalmente contó con un Boccanegra con presencia y color, defendido con convicción, a la antigua usanza, por George Gagnidze...«

El País, 19.07.2010, J. A. Vela del Campo

»George Gagnidze convence plenamente, posee la prestancia física que precisa el personaje de Simon, una voz amplia y bien timbrada...«

La Razón, 18.07.2010, Gonzalo Alon 

»Así lo reconoció un público, que fue dejándose atrapar por una música bellíssima interpretada con mimo desde el foso, bajo la batuta del maestro López Cobos, por las magníficas interpretaciones del Coro Titular del Teatro Real, Coro Intermezzo, dirigido por Peter Burian y, por fin, por los dos grandes protagonistas de la obra, que además debutaban sus respectivos papeles: el barítono georgiano George Gagnidze, de gran calidad vocal e interpretativa y la soprano albanesa Inva Mula, siempre intensa.«

El Imparcial, 18.07.2010, Alicia Huerta

Francesca da Rimini (Paris, Opéra Bastille)

»Le baryton géorgien George Gagnidze se glisse avec volupté dans la peau du vilain, le méchant époux boiteux, la voix et impeccable, le jeu grand Guignol.«, 07.02.2011, Caroline Alexander

»Le Sciancato de George Gagnidze n'impressionne pas moins, littéralement formidable, aussi noir que Scarpia et Iago réunis, superbe de ligne dans sa rôle de jaloux ténébreux.«

www.ConcertoNet, 08.02.2011, Didier van Moere

»But the redeeming values are many, too, starting with the superb performance of Georgian baritone George Gagnidze as the malevolent Giovanni, his dark and powerful voice in perfect control, a frightening portrait of strength and frustration confined to a wheelchair. His lengthy duet with American tenor William Joyner as the brutal Malatestino is a riveting morsel of evil personified in music.«

The Wall Street Journal, 04.02.2011, Judy Fayard

»Toutefois, la palme a été remportée par le baryton géorgien George Gagnidze, superbe et glaçant dans le rôle de l'époux infirme.«

Le Figaro, 03.02.2011, Nicolas d'Estienne d'Orves

»George Gagnidze, as the lame and twisted Giovanni, makes a stunning house debut, all seething frustration and exemplary projection.«

Financial Times, 02.02.2011, Francis Carlin

»Impressionnant de présence, de puissance et de noirceur, George Gagnidze incarne un terrible Giovanni, brute épaisse prête à tout pour maintenir son épouse sous sa coupe.«

 Les Échos, 03.02.2011, Philippe Venturini

»George Gagnidze offered a chilling presence and wielded a searingly powerful baritone as the crippled Giovanni, perhaps 'the' performance of the evening.«, 10.03.2011, James Sohre

Tosca (New York, Metropolitan Opera)

»George Gagnidze, as Scarpia, is fierce, imposing and formidable, singing with an emotional edge of grating, sinister danger.«, 25.09.2009, Ellen Gilmer

»The excellent Georgian baritone George Gagnidze contributes a formidable, richly sung Scarpia that emphasizes the police chief's brutality rather than his pseudo-gentlemanly ways.«

South Florida Classical Review, 23.09.2009, George Loomis

»George Gagnidze, Scarpia noir et glaçant, encore inconnu mais qui promet d'être un immense chanteur.«

Le Monde, 23.09.2009, Renaud Machart

»Gagnidze did more than hold his own... he held the stage compellingly in Act 2, his high notes ringing out with suitable menace. In look and gesture he brings to mind Tony Soprano as played by James Gandolfini, which fits Bondy's vision of Scarpia as more thuggish than suave.«

The Associated Press, 22.09.2009, Mike Silverman

»George Gagnidze's Scarpia was powerful, commanding a great range of color and subtlety from his terrifying entrance in the 'Te Deum' scene through to a lovely lightness in his upper ranges.«

BerkshireFineArts, 22.09.2009, Susan Hall

»George Gagnidze, baritone from Georgia was a very accomplished and dark Scarpia particularly as he stepped in at short notice due to sickness.«

The Guardian, 22.09.2009, Ed Pilkington

»Baritone George Gagnidze, who took over the role of the psychopathic Scarpia only a week before, oozed a disquieting creepy quality, and his metallic voice achieved an effective snarl.«

New York Post, 23.09.2009, James Jorden

»George Gagnidze revealed his exceptional talent as a singing actor when he debuted at the Met last season in the role of Rigoletto. Puccini gives Scarpia one of the greatest and most dramatic entrances in all of opera and Gagnidze made the most of it. His stage presence was riveting. With his imperious bearing, his commanding stride, his barely suppressed sneer, he was truly the man whom Tosca described as capable of making all of Rome tremble. Gagnidze embodied much of the character with only a single telling gesture - his clenched left fist. Puccini's Scarpia is a volcanic character - with outsized inner passions, mingling sex and violence, passions that are ever ready to erupt but kept under iron control, as befitting his social and political station. Gagnidze's costume here (as opposed to what he wore in the second act) was apt - a snakeskin coat, so appropriate for Scarpia's serpentine nature. He is merciless and relentless, and he tells us he has two goals: to possess Tosca and kill her lover. As Gagnidze, with crystal clear declamation, gives us Scarpia's commentary on how well his plans are working, these thoughts seem to be occurring to him in real time. With Iago as his acknowledged role model, Scarpia sets out to make Tosca jealous. With an unctuous manner and false sympathy he both plants the seed of jealousy in Tosca's mind and comforts her in her distress. Gagnidze accomplishes this shift from Scarpia's public face to the one he wants to present to Tosca (at least for the moment) with a marvelous change of vocal color and dynamics and an exceptionally fine legato line. Gagnidze's "Te Deum" is sung with his richly colored dark voice redolent of menace, with excellent intonation and unforced power.«, 21.09.2009, Arlene Judith Klotzko

»For me however, the star of the evening was George Gagnidze, a native of the Republic of Georgia, who is not yet so well known despite his critically acclaimed and very successful debuts at Milan's La Scala as Giorgio Germont in Traviata, and at the Met in Rigoletto. His voice is full of dark colours, particularly in its lowest range, but the middle and the top are also intensely dramatic and powerful. He has acting skills to match and his Scarpia was brilliant: menacing, despicable and evil in every instance, maliciously smooth and seductive in the scenes with Tosca, and terribly sinister during the Act I Te Deum while sensually kissing the statue of the Madonna, after crying out "Tosca, you make me forget God".«, 10.10.2009, Margarita Mota-Bell

»Schade nur, dass der in New York eingesprungene Georgier Gagnidze (vorerst) nicht in München singt. Er steht in seinem raumgreifenden geifernden Lustsadismus kaum einem Tito Gobbi nach, der mit der Callas "Tosca-Maßstäbe" gesetzt hat.«, 11.10.2009, Adrian Prechtel

»Schließlich gelingt dem georgischen Bariton George Gagnidze eine mitunter dämonisch anmutende Interpretation des Barons Scarpia.«

Wiesbadener Kurier, 12.10.2009, David Honsack

»George Gagnidze conquistó en toda la línea con una poderosa personificación del malvado y a veces repugnante Scarpia, a su bella voz agrega una actuación de notable convicción, impresionante en particular en el secundo acto.«

El Mercurio, 15.10.2009, Gilberto Ponce

»Craftily setting the lovers against each other was the murderous Baron Scarpia, played brilliantly by the Georgian baritone George Gagnidze. A new face to many, he seemed to embody the evil of high level government corruption. Scarpia could kill anyone who opposed him with total impunity and his lust was equally unbridled. Although Tosca said they would meet before God, it is doubtful that it worried this consumate villain... Gagnidze is a wonderfully evil Scarpia and it will be interesting to see more of his interpretations.«, 18.10.2009, Maria Nockin

»The large and imposing figure of Gagnidze, a commanding baritone from the Republic of Georgia, produced an especially gripping and sinister Scarpia, Rome's Chief of Police in whose presence everyone - including Scarpia's own secret police - would shudder at his feet. In one memorable moment at the end of Act I, Gagnidze addresses Tosca while enlarging the sockets of his eyes as a bear might spread its arms before squeezing the life out of his prey. "Tosca, you make me forget God", says Gagnidze, who then pulls the statue of the Virgin Mary towards him and kisses its lips triumphantly. Gagnidze's firm command of vocal delivery and intensity of timbre in his high register matched the level of his acting abilities and was largely responsible for the convincing display of his character in the self-congratulatory aria Va, Tosca! and creed-defining Ha piu forte sapore.«, 13.10.2009, David Abrams

»George Gagnidze as Scarpia has the great role and he pitches it perfectly, conveying the threads of cruelty, lust and sanctimonious. His facial appearance as close that of Mussolini helps makes him an ideal villain wielding power to his own advantage.«

The National Business Review, 04.11.2009, John Daly-Peoples

»La gran sorpresa de la noche vino del barítono georgiano George Gagnidze, quien encarnó un Barón Scarpia inmejorable en lo vocal y de fuerte prestancia escénica. De voz redonda y potente, Gagnidze mostró ser un cantante sutil, y de ciudadísima línea de canto.«, 10.10.2009, Horacio Tomalino

Tosca (New York, Avery Fisher Hall)

»The Georgian baritone George Gagnidze was an exceptionally menacing Scarpia, singing with robust, earthy power and seductive lyricism when the villain turns on the charm.«

The New York Times, 14.06.2008, Anthony Tommasini

»Gagnidze delivers both the requisite power and dramatic electricity. He was far and away the most impressive singing-actor of the ensemble, delivering the dialogue with sinister flair and creating a character that seemed an amalgam of the worst traits of Don Giovanni, Tony Soprano and Dick Cheney rolled into one persona.«

The Classical Source, 12.06.2008, Gene Gaudette

»Scarpia was a real discovery, at least as far as I'm concerned. He was George Gagnidze, a Georgian baritone. And he looked just like a thug. (No offense.) In fact, he looked like a young Mussolini, barrel-chested and broad-faced. No one looked more like a Scarpia. I swear, he looked more like Scarpia in his concert tux than he would have in a proper, opera-house costume.
Most important, he sang and acted splendidly. He was on the mark in all Scarpia's moods: belligerent, sweet-talking, sinister. Henceforth, when I think of Scarpia, I will almost surely think of Mr. Gagnidze.«

The New York Sun, 16.06.2008, Jay Nordlinger

»Only George Gagnidze, the Scarpia, had a success. He cleverly delineated Scarpia-with-Tosca versus Scarpia-with-everyone-else. When he finally let her see his dark side, at "Già mi struggea l'amore," he gave a hint of what the evening might have been.«

Opera News Online, August 2008, vol 73, no. 2, William R. Braun

Rigoletto (New York, Metropolitan Opera)

»So it happened that George Gagnidze made his debut at the Met in a role that he owns, for as tenor José Carreras has said, "He is not just born for Rigoletto, he is Rigoletto". And so he was on Tuesday evening at the Metropolitan Opera, giving a performance that was a vocal and dramatic tour de force. He commanded the stage by his presence, as only the greatest actors do. And he sang with passion, unforced power, absolute control throughout his range, and a beautiful legato line... Yet, Gagnidze's portrayal of the tormented and self-destructive Rigoletto was so convincing that, during his recitative in act three "Egli è la... morto!" as he gloated over his supposed revenge killing of the Duke - not knowing what we knew, that it was Gilda's body in that sack - the audience was transfixed. When he begged her not to die as her life slipped away, I heard sniffles and a few stiffled sobs. His fate was much worse than his daughter's: he killed the one person in the world whom he loved and who loved him. Verdi gave Rigoletto two other key solos. In the act one recitative, "Pari siamo", Gagnidze conveyed the character in all of his complexity, beginning with his heartbreak at being deformed and his rage at having to play the buffone. In the aria, "Cortigiani, vil razza dannata", from act two, consummate acting is required and Gagnidze met the challenge. Rigoletto's transformation from violent anger at the fate of his daughter to abject submissiveness and pleading on her behalf was psychologically compelling and extraordinary moving. It is in the Rigoletto's duets with Gilda that the tender and loving side of his character is revealed. In these, Gagnidze dazzled with fine legato singing and impeccable acting ability.«, January 2009, Arlene Judith Klotzko

»Baritone George Gagnidze was Rigoletto and he gave a strong reading of the role throughout. From his vicious "Pari siamo" which he hurls at the paid assassin, Sparafucile, the duet with Gilda in the garden where he swears his love and protection and his angry confrontation with his daughters abductors "Cortigiani, vil razza dannata" his strong, clear voice thundered through the large Met.«, 07.02.2009, Chesley Plemmons

»George Gagnidze es un artista ideal para este protagonico. Recorre su partitura con todo el poder dramatico y lirico que le impone el compositor y se adrenta en el libreto para exteriorizarlo en una voz rica en musicalidad e intension dramatica. Su fraseo poderoso es siempre depurado por el estilo verdiano y su voz tiene calidez y calidad. Gran actor Gagnidze es uno de los mejores Rigoletto del momento y perfila como uno de los mas impoortantes en la historia de la lirica.«, 01.02.2009, Rita-Antonia Amodei

»Debutante en la cadena Internacional, George Gagnidze muestra al mundo el talento que lo hace merecedor del I° Premio Internacional Verdi. Su Rigoletto tiene todos los matices anímicos que tanto el compositor como el libretista idearon para este personaje. Voz rica y melodiosa, poderoso impacto escénico y arrazador en los momentos dramáticos, este barítono tiene una promisoria carrera por delante.«, 18.02.2009, Rita-Antonia Amodei

»Georgian Baritone, George Gagnidze, whose singing was the most accurate, aesthetically pleasing, and dramatic was promising in his portrayal of Verdi's hunchback. His Rigoletto was both pathetic and sometimes sinister in his vendetta... Gagnidze began to tread the line between reality and the other in Act III, with his most dramatic singing and acting at the point when Gilda is discovered in the sack. A lovely, baritone with colore brucciato, Gagnidze carried the brunt of this production in the merits of his talent.«, 25.02.2009, Mary-Lou Patricia Vetere

Rigoletto (Parma, Teatro Regio)

»Rigoletto era il baritono georgiano George Gagnidze che ha cantato con partecipazione scenica e voce sicura costruendo un Rigoletto con movenze sornione e nervose e con una linea di canto spezzata, quasi da vilain, ma molto personale e intrigante. Un Rigoletto fuori dagli schemi, ma di sicura personalità.«, 28.10.2008, R. Malesci

Luisa Miller (Valencia, Palau de les Arts Reina Sofia)

»Entdeckung des Abends aber war der junge Georgier George Gagnidze. Eine große, wunderbar timbrierte Baritonstimme, die stellenweise sogar an Ettore Bastianini erinnert, Phrasierung und Gesangskunst vom Feinsten, gepaart mit einer kraftvollen und runden Höhe. Weltkarriereverdächtig!«

Der neue Merker, 20.11.2008, Andrea Müller

La Traviata (Milano, Teatro alla Scala)

»Il baritono georgiano George Gagnidze faceva il suo debutto in Scala nel ruolo di Giorgio Germont: ha cantato ponendo molta attenzione al fraseggio, con una linea di canto che cerca di rifarsi a quella di baritoni grand seigneur.«

Operaclick, 2007, Danilo Boaretto

Aida - La Scala (DVD)

Giuseppe Verdi: Aida. Kristin Lewis (Aida). Fabio Sartori (Radames). Anita Rachvelishvili (Amneris). George Gagnidze (Amonasro). Matti Salminen (Il Re). Zubin Mehta (Conductor). La Scala Chorus and Orchestra. C Major 732208 (DVD). 732304 (Blu-ray)

»A stellar cast« (La Stampa)

»A perfect coup de thèâtre« (Giornale della musica)

»The entire ensemble is brilliant in its portayal of the characters« (Die Presse)

Tosca - The MET live in HD (DVD)

Giacomo Puccini: Tosca. Opera in three acts. George Gagnidze (Scarpia). Karita Mattila (Tosca). Marcelo Alvarez (Cavaradossi). David Pittsinger (Angelotti). Paul Plishka (Sagrestano). Joel Soerensen (Spoletta). Joseph Colaneri (Conductor). Chorus and Orchestra of the Metropolitan Opera House. EMI/Virgin 6419729 5 (The MET - live in HD)

»Vient enfin la basse terrible - au meilleur sens du terme - de George Gagnidze. Chaque note est avec lui parfaitement lisible et parfaitement pesée, dans un mélange et délire mégalomaniaque et de violence implacable. Son interprétation apporte un relief nouveau à l'image de Scarpia, qui n'est plus, avec lui, un "méchant" de base, mais bien un homme à multiples facéttes, qui nous invite à une véritable réflexion sur le pouvoir.«

                                     , 08/2010, Jean-Claude Lanot 

»The great surprise is however the Georgian baritone George Gagnidze, whom I had never heard before. He has already made his mark in several big opera houses, including La Scala and The Metropolitan, where he was a superb Rigoletto during the 2008-2009 season. I can understand the superlatives I have read, since here is a singer with a well schooled and expansive baritone, dark in the lower register but with almost tenoral brilliance at the top. He is an expressive actor as well, working with rather restrained means and he knows how to colour a phrase memorably. His Scarpia was no cardboard villain but a monster of flesh and blood; yes, even with a glimpse of human warmth. I have seen many great Scarpias live through the years, including Ingvar Wixell in the 1970s and in recent years Juha Uusitalo and Sergei Leiferkus, all of them deep-probing actors as well as formidable singers. George Gagnidze on this hearing and viewing might well join their company.«

           , 02/2011, Göran Forsling