George Gagnidze

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08/27/2026

πŸπŸŽπŸπŸ“/πŸπŸ” π’π„π€π’πŽπ π“π‡π‘πŽπ–ππ€π‚πŠ | πŒπ€π‚ππ„π“π‡

In May, I returned to the title role of Verdi’s πŒπ€π‚ππ„π“π‡ at the Opera Carlo Felice in Genoa.
Here is a moment from Act I, just after the murder of King Duncan. Macbeth is already overwhelmed by what he has done, haunted by the voices he believes he hears condemning him to a life without sleep:

Conducted: Sesto Quatrini | Staging: Fabio Ceresa

08/25/2026

πŸπŸŽπŸπŸ“/πŸπŸ” π’π„π€π’πŽπ π“π‡π‘πŽπ–ππ€π‚πŠ | 𝐋𝐀 π“π‘π€π•πˆπ€π“π€

This past spring brought me back to Giorgio Germont in Verdi’s 𝐋𝐀 π“π‘π€π•πˆπ€π“π€ for my house debut at the Semperoper Dresden.
Germont is one of Verdi’s great father roles, and in this scene we see that side of him very clearly: after β€œDi Provenza il mar, il suol,” he continues trying to persuade Alfredo to leave Paris behind and return home with him.

Conductor: Clelia Cafiero | Staging: Barbora HorΓ‘kovΓ‘

08/24/2026

πŸπŸŽπŸπŸ“/πŸπŸ” π’π„π€π’πŽπ π“π‡π‘πŽπ–ππ€π‚πŠ | ππ€π†π‹πˆπ€π‚π‚πˆ

My next stop in the 2025/26 season was Tbilisi, returning to Tonio in Leoncavallo’s ππ€π†π‹πˆπ€π‚π‚πˆ at the Tbilisi Opera and Ballet State Theatre.
Here is a snippet from Tonio’s duet with Nedda in Act I. Tonio declares his love for her, but when she laughs at him and rejects him, his feelings quickly turn into rage and a desire for revenge - setting in motion the tragedy that follows.
It was a special pleasure to perform this opera in Tbilisi, conducted by David Mukeria in Federico Grazzini’s production.

08/23/2026

πŸπŸŽπŸπŸ“/πŸπŸ” π’π„π€π’πŽπ π“π‡π‘πŽπ–ππ€π‚πŠ | 𝐃𝐄𝐑 π…π‹πˆπ„π†π„ππƒπ„ π‡πŽπ‹π‹Γ„ππƒπ„π‘

I kicked off 2026 with Wagner’s 𝐃𝐄𝐑 π…π‹πˆπ„π†π„ππƒπ„ π‡πŽπ‹π‹Γ„ππƒπ„π‘ at the Teatre Principal de Palma.
Although I made my debut as the Dutchman at the beginning of my career, in a production in OsnabrΓΌck, I still consider it a relatively new role in my repertoire: after that first production, I didn’t sing it again for around 20 years. I finally returned to the role last summer at Oper im Steinbruch and then again in February in this Marcelo Lombardero production conducted by Guillermo GarcΓ­a-Calvo.
Here is an excerpt from the final scene of the opera. Believing Senta has broken her vow, the Dutchman reveals to her the curse that condemns him to wander the seas and prepares to leave forever - hoping to spare her from sharing his damnation.

08/18/2026

πŸπŸŽπŸπŸ“/πŸπŸ” π’π„π€π’πŽπ π“π‡π‘πŽπ–ππ€π‚πŠ | ππ€ππ”π‚π‚πŽ

To wrap up 2025, I returned to one of my signature roles, Nabucco, for a gala performance at Theater Bonn, conducted by Will Humburg in Roland Schwab’s production.
Here is a snippet from Act II: β€œNon son piΓΉ Re, son Dio” - Nabucco declares himself not merely king, but God, only to be struck by lightning moments later and lose his mind.⚑️🀯

08/17/2026

Next in my 2025/26 season after Torino came Shaklovity in Mussorgsky’s πŠπ‡πŽπ•π€ππ’π‡π‚π‡πˆππ€ at the Staatsoper Unter den Linden, in a revival of our 2024 production by Claus Guth. In his great Act III monologue, Shaklovity looks at a country torn by unrest and asks who might finally rise to save Russia and restore order.
It is always a great pleasure to sing in my second home, Berlin - especially in this fantastic production, alongside wonderful colleagues and under the baton of Timur Zangiev.

08/15/2026

Starting my 2025/26 throwback with the role that opened the season for me: Gianciotto in Riccardo Zandonai’s 𝐅𝐑𝐀𝐍𝐂𝐄𝐒𝐂𝐀 𝐃𝐀 π‘πˆπŒπˆππˆ, conducted by Andrea Battistoni in a production by Andrea Bernard at the Teatro Regio di Torino.🎡
It was a great pleasure to revisit Gianciotto and Zandonai’s marvelous opera almost 15 years after I first sang the role in Paris.
Here is a snippet from the end of Act II.

I’m very happy to announce some of the highlights of my 2026/27 season (more to be announced soon!).The season begins wi...
07/31/2026

I’m very happy to announce some of the highlights of my 2026/27 season (more to be announced soon!).
The season begins with an exciting new chapter as I make my Boston Lyric Opera debut in the title role of Rossini’s Guillaume Tell, opening the company’s 50th anniversary season.
I’ll then spend much of the season in New York at my second home, the Metropolitan Opera, returning as Scarpia in Tosca and Amonasro in Aida, as well as appearing in the Diamond Jubilee Gala celebrating the Met’s remarkable history.
I’m grateful for these opportunities and look forward to these performances in Boston and New York!🎢

πŸ“Έ O-PR Communications

Boston Lyric Opera
The Metropolitan Opera

07/29/2026

Another moment from the second act of π“πŽπ’π‚π€, recorded last month at Warsaw’s Central Square (with temperatures of around 40Β°C). Here, Scarpia finally drops all pretense; there’s no mask anymore. He tells Tosca exactly what he wants, and she doesn’t see it coming.

Bassem Akiki | Sinfonia Varsovia



07/27/2026

Macbeth’s terror reaches its breaking point. In just a few bars, Verdi takes Macbeth from desperate disbelief to sheer panic. Another brief moment from the end of this extraordinary scene in Act 3, where fear completely overwhelms him.

πŸŽ₯ Opera Carlo Felice in Genoa, May 2026 in Fabio Ceresa’s production, conducted by Sesto Quatrini.

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