Many of the world’s leading opera houses were closed during the pandemic, including the New York Metropolitan Opera. Just recently, the theater has resumed working. It is very exciting that a few days ago a renewed performance of Puccini “Tosca” was held on the stage of the Metropolitan, in which the famous Georgian baritone George Gagnidze was specially invited. He will take part in 11 performances. Those who will happen to be in New York during this period, who want to see Tosca staged by David McVicar and listen to our famous singer in the role of Scarpia, will have the opportunity to do so until the end of January. George Gagnidze is partnered with celebrities Sondra Radvanovsky and Brian Jagde.
George Gagnidze: “A year and a half after the pandemic started, I had to come to New York again, to this beautiful city. I have performed more than 100 plays on the stage of the Metropolitan Opera, including 30 Tosca. I remember those first years, maestro James Levine, with whom I sang my first premiere at the Metropolitan. That was Tosca. I was very happy to be here then and I am happy now to open the season with Tosca at the famous New York Opera House. I play Scarpia with an excellent cast, including Sondra Radvanovsky, Brian Jagde, and theater director Yannick Nézet-Séguin. The staging is very traditional and beautiful by the very famous director David McVicar.
After the performance, the chief conductor of the Metropolitan Opera said: “This is my long-awaited cast – Sondra Radvanovsky, Brian Jagde, and George Gagnidze. It is a great honor to work with such wonderful singers.”
The NY Times has compared the successful performance of Tosca to the bombing. The applause of the spectators did not subside for a long time. Numerous reviews have been written. Well-known critic George Grella wrote in the Newyorkclassicalreview: “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.”
