David Truslove talks to the operatic bass George Andguladze who makes his Covent Garden debut as the King of Egypt in Verdi’s Aida. Conducted by Daniel Oren, this is the first revival of Robert Carsen’s 2022 production.
DT In 2017 the English language newspaper Georgia Today described you as “a renowned and exceptionally young Bass who, at the age of 32, has already conquered pinnacles in the world opera”. To what are they referring?
GA This refers to my achievements in Italy. After auditioning for a competition at the Teatro Regio Parma, I took part in the Giuseppe Verdi Festival where I sang the role of Ferrando in IlTrovatore. There followed a contract for the entire season in Parma, where I first encountered Daniel Oren, and where I took part in performances of Aida, Rigoletto and Stiffelio, later recording these operas as part of the Verdi bicentennial.
DT It appears you began singing early on as a boy and became the youngest soloist of the Tbilisi Philharmonic.
GA Yes, I started singing aged six in a folk choir, as well as in a church choir. I began singing Neapolitan songs accompanied by an orchestra which led to invitations to perform at prestigious events in Georgia and abroad. By the age of ten I became a soloist of the Tbilisi Philharmonic. Two years later I sang in the Bravo Opera Festival, the only child next to the acclaimed singers Katia Ricciarelli, Renato Bruson and Alessandra Marc. There followed invitations to participate in television programs in Georgia, Italy, Israel and Russia.
DT Other childhood singing experiences include performances in Paris (Théâtre des Champs-Élysées) Moscow (Kremlin) and Tbilisi’s State Opera House. How did this occur?
GA I had been invited to sing at Georgian Culture Days which led to invitations to sing in Paris and the Jerusalem Concert Hall in Israel. An event at Moscow’s Kremlin Palace was memorable because James Brown and his band performed there.
DT Are you from a family of musicians? Did your parents sing?
GA No, I am not from a family of musicians, although I am a descendant of the great Georgiansingers David and Nodar Andghuladze. Everyone sings in Georgia, just as they do in Italy.
DA You once sang a duet with the legendary Italian baritone Robertino Loreti. Can you recall the occasion and the music you sang?
GA I remember it clearly; it was a turning point of my childhood. I participated in the International Festival in Almaty held under the patronage of Mrs. Sara Nazarbayev, where the legendary Robertino Loretti was an honoured guest. When he heard me in rehearsal, he congratulated me backstage, hugged me with typically Italian warmth, and said: “I have found my double!” Two years later he was on tour in Georgia and invited me to perform with him at the Opera Theater where we sang the Neapolitan song “Santa Lucia”.
DT Before your operatic career you first studied piano in Tbilisi and later choral conducting. Was there a gradual realisation that singing would take over your life?
GA It was simply my inner need. I had a large collection of recordings and always listened to them. I was completely fascinated by singing and took it seriously. And I want to mention my family, especially my mother, her enormous support and dedication, her helping me to fulfil my dream.
DT From Georgia you went to northern Italy to study at the Conservatorio di Reggio Emilia and in 2003 you appeared at the Accademia delle Voci Verdiane di Busseto. Is the latter a summer academy or a competition?
GA Yes, I studied in Italy at the Reggio Emilia Conservatory and then graduated from the one-year vocal academy at the Busseto Accademia delle Voci, Verdiane.
DT Which operatic roles did you first discover and did your studies in Italy launch your singing career?
GA It was in Italy where my professional career began and where I learnt the roles Ramfis (Aida) and Sparafucile (Rigoletto), and the bass solos from Verdi’s Requiem.
DT Who or what were the major musical influences during this period of study?
GA All the great musicians helped shape me, including the renowned Italian basses Bonaldo Giaiotti and Renato Bruson and the Georgian Badri Maisuradze.
DT When and in what role was your first operatic success?
GA Nabucco was a triumph for me in 2019 when I sang the role of Zaccaria, and my Filippo in Don Carlo was another great moment the same year.
DT Since your vocal studies you’ve taken part in numerous Verdi operas including Aida (both as Ramphis & The King of Egypt), Don Carlo, Il Trovatore, Nabucco, Rigoletto & Simon Boccanegra. Is this a preference for Verdi or is this chance?
GA No, this is not a coincidence. My voice and inner nature are closest to Verdi.
DT You’ve also taken parts in Haydn’s Il Mondo della Luna, Puccini’s Turandot andBizet’s Carmen. Is there any other French repertoire you’ve sung?
GA In 2017 I took partin Massenet’s opera La Navarraise (Warner Classics) which featured Roberto Alagna and the Polish soprano Aleksandra Kurzak.
DT What do your future operatic plans include?
GA The role of Gremin (Eugene Onegin) in 2027.
We wish George every success in the current run of Aida at the Royal Opera House. The production runs from 28th January to the 12th February.
Georgian born and Italian-trained singer George Andguladze debuts at the Royal Opera House
David Truslove talks to the operatic bass George Andguladze who makes his Covent Garden debut as the King of Egypt in Verdi’s Aida. Conducted by Daniel Oren, this is the first revival of Robert Carsen’s 2022 production.
DT In 2017 the English language newspaper Georgia Today described you as “a renowned and exceptionally young Bass who, at the age of 32, has already conquered pinnacles in the world opera”. To what are they referring?
GA This refers to my achievements in Italy. After auditioning for a competition at the Teatro Regio Parma, I took part in the Giuseppe Verdi Festival where I sang the role of Ferrando in Il Trovatore. There followed a contract for the entire season in Parma, where I first encountered Daniel Oren, and where I took part in performances of Aida, Rigoletto and Stiffelio, later recording these operas as part of the Verdi bicentennial.
DT It appears you began singing early on as a boy and became the youngest soloist of the Tbilisi Philharmonic.
GA Yes, I started singing aged six in a folk choir, as well as in a church choir. I began singing Neapolitan songs accompanied by an orchestra which led to invitations to perform at prestigious events in Georgia and abroad. By the age of ten I became a soloist of the Tbilisi Philharmonic. Two years later I sang in the Bravo Opera Festival, the only child next to the acclaimed singers Katia Ricciarelli, Renato Bruson and Alessandra Marc. There followed invitations to participate in television programs in Georgia, Italy, Israel and Russia.
DT Other childhood singing experiences include performances in Paris (Théâtre des Champs-Élysées) Moscow (Kremlin) and Tbilisi’s State Opera House. How did this occur?
GA I had been invited to sing at Georgian Culture Days which led to invitations to sing in Paris and the Jerusalem Concert Hall in Israel. An event at Moscow’s Kremlin Palace was memorable because James Brown and his band performed there.
DT Are you from a family of musicians? Did your parents sing?
GA No, I am not from a family of musicians, although I am a descendant of the great Georgiansingers David and Nodar Andghuladze. Everyone sings in Georgia, just as they do in Italy.
DA You once sang a duet with the legendary Italian baritone Robertino Loreti. Can you recall the occasion and the music you sang?
GA I remember it clearly; it was a turning point of my childhood. I participated in the International Festival in Almaty held under the patronage of Mrs. Sara Nazarbayev, where the legendary Robertino Loretti was an honoured guest. When he heard me in rehearsal, he congratulated me backstage, hugged me with typically Italian warmth, and said: “I have found my double!” Two years later he was on tour in Georgia and invited me to perform with him at the Opera Theater where we sang the Neapolitan song “Santa Lucia”.
DT Before your operatic career you first studied piano in Tbilisi and later choral conducting. Was there a gradual realisation that singing would take over your life?
GA It was simply my inner need. I had a large collection of recordings and always listened to them. I was completely fascinated by singing and took it seriously. And I want to mention my family, especially my mother, her enormous support and dedication, her helping me to fulfil my dream.
DT From Georgia you went to northern Italy to study at the Conservatorio di Reggio Emilia and in 2003 you appeared at the Accademia delle Voci Verdiane di Busseto. Is the latter a summer academy or a competition?
GA Yes, I studied in Italy at the Reggio Emilia Conservatory and then graduated from the one-year vocal academy at the Busseto Accademia delle Voci, Verdiane.
DT Which operatic roles did you first discover and did your studies in Italy launch your singing career?
GA It was in Italy where my professional career began and where I learnt the roles Ramfis (Aida) and Sparafucile (Rigoletto), and the bass solos from Verdi’s Requiem.
DT Who or what were the major musical influences during this period of study?
GA All the great musicians helped shape me, including the renowned Italian basses Bonaldo Giaiotti and Renato Bruson and the Georgian Badri Maisuradze.
DT When and in what role was your first operatic success?
GA Nabucco was a triumph for me in 2019 when I sang the role of Zaccaria, and my Filippo in Don Carlo was another great moment the same year.
DT Since your vocal studies you’ve taken part in numerous Verdi operas including Aida (both as Ramphis & The King of Egypt), Don Carlo, Il Trovatore, Nabucco, Rigoletto & Simon Boccanegra. Is this a preference for Verdi or is this chance?
GA No, this is not a coincidence. My voice and inner nature are closest to Verdi.
DT You’ve also taken parts in Haydn’s Il Mondo della Luna, Puccini’s Turandot andBizet’s Carmen. Is there any other French repertoire you’ve sung?
GA In 2017 I took partin Massenet’s opera La Navarraise (Warner Classics) which featured Roberto Alagna and the Polish soprano Aleksandra Kurzak.
DT What do your future operatic plans include?
GA The role of Gremin (Eugene Onegin) in 2027.
We wish George every success in the current run of Aida at the Royal Opera House. The production runs from 28th January to the 12th February.