Giorgi Mtchedlishvili


Giorgi Mtchedlishvili was born in 1991 in Tbilisi, the capital of Georgia. In 2012 he graduated from Z. Paliashvili Central Music School in Tbilisi. Afterwards, he became a scholarship holder of the Vano Sarajishvili State Conservatory in Tbilisi in both 2015 and 2016, where he completed his master’s degree in 2018. During that time, he performed at various concerts and events in Georgia.

In 2022 he performed Escamillo at the Tbilisi Z. Paliashvili State Opera and Ballet Theatre and Jago in Verdi's Otello at both Narodni Divadlo Brno and Thurn und Taxis Schlossfestspiele in Regensburg.

Among his other performances are roles of Marcello in Puccini's La Bohème at the Wano Sarajchivili State Conservatoire, Count Almaviva in Mozart's Le nozze di Figaro at the Tbilisi Z. Paliashvili State Opera and Ballet Theater, where he also played the role of Figaro in Il barbiere di Seviglia by Rossini in 2016, Belcore in Donizetti's L'elisir d'amore, Paolo Albiani in Verdi's Simon Boccanegra and the role of Mandarin in Puccini's Turandot.

Since the season 2018/19, Giorgi Mtchedlishvili has been a scholarship recipient of the Liz Mohn Culture and Music Foundation and is a member of the International Opera Studio of the Staatsoper Unter den Linden. During this period, he has performed Monterone in Verdi's Rigoletto, Murderer in Verdi's Macbeth and Baritone in Vivier's Kopernikus.

Giorgi Mtchedlishvili has been awarded several prizes throughout his career, including first place in the Italian Don Matteo Colucci competition, an honorary award for the Minsk International Christmas Singing Competition and a place in the finals of the Accademia Belcanto Singing Competition in Graz.

During his career he took lessons and masterclasses from Teresa Berganza, Giacomo Aragall, Grace Bumbry, Brigit Fasbaender, Deborah Polaski, Neil Shicoff, Jurgen Flimm, Olga Kapanina, Natela Nicoli, Abbie Furmansky, Caroline Gruber and others.

Opera roles

Georges Bizet


Gaetano Donizetti


Wolfgang Amadeus Mozart


Giacomo Puccini

LA BOHEME/Marcello

Giuseppe Verdi

LA TRAVIATA/ Barone Douphol

Claude Vivier

OTELLO, Thurn und Taxis Schlossfestspiele
Mon, 2022-07-18
Dieses Jahr wurde zur Eröffnung der Schlossfestspiele Verdis „Otello“ – eine Oper, die seit langem zu den Klassikern der musikalischen Darbietungen zählt. In „Otello“ wird die Geschichten des gleichnamigen Hauptcharakters nacherzählt: Ein Feldherr, der auf die intriganten Machenschaften des Leutnants Iago reinfällt und so die Liebe zu seiner Frau Desdemona riskiert. Das Ensemble des Nationaltheaters Brünn brachte ein starkes Stück Kultur auf die Bühne – trotz kleinerer technischer Ausfälle und dem ein oder anderen Stolperer, wie sie bei Premieren nicht unüblich sind. Insbesondere Giorgi Mtchedlishvili und Harold Meers brachten die Figuren des Iago und des Otello zum Leben und überzeugten durch ihre Leistungen. *** This year, the opening of the Castle Festival was Verdi's "Otello" - an opera that has long been one of the classics of musical performances. In "Otello" the stories of the main character of the same name are retold: a general who falls for the scheming machinations of Lieutenant Iago and thus risks his love for his wife Desdemona. The ensemble of the Brno National Theater brought a strong piece of culture to the stage - despite minor technical failures and one or two stumbles, which are not unusual at premieres. Giorgi Mtchedlishvili and Harold Meers in particular brought the characters of Iago and Otello to life and their performances were convincing.
OTELLO, Narodni Divadlo Brno
Wed, 2022-06-22
Jagem byl Giorgi Mtchedlishvili, mladý gruzínský pěvec s příjemným barytonem, herecky uvěřitelný, ale nebyl silnou manipulativní postavou. *** Jago was Giorgi Mtchedlishvili, a young Georgian singer with a pleasant baritone, believable as an actor, but not a strong manipulative character.
RIGOLETTO, Staatsoper Berlin 2019-20
Wed, 2019-10-23
It was electrifying, in that light, to witness the Act one scene when Count Monterone barges into the Duke’s party. The party itself, despite its Weimar-era décor, recalled an earlier era. The men glittered with gold epaulettes and military medals; the women hung to the sides, all satin and glittering jewels. The tableau they presented appeared only superficially different from the paintings of Prussian court life on display at Museum Island across the street from the Staatsoper. As Giorgi Mtchedlishvili’s wild-eyed Count Monterone cursed Rigoletto and the Duke, however, the faces of the men in the ballroom assumed an alarming severity. They appeared neither amused nor unduly upset by Monterone’s outburst: they were simply stone-faced, impassive, waiting for Monterone to finish. When he did, their voices rose in a terrifyingly impersonal sentence of death. It was a scene that mirrored the dynamics of Germany’s years of authoritarian rule, when political purges took the lives of many men much like Monterone: one moment an insider, the next a traitor, and from there to prison or the grave. One was reminded of how easily the libertine freedoms of Weimar Germany descended into authoritarianism. In Sher’s Weimar “Rigoletto,” the Nazi period has not yet arrived, but the human flaws that would birth it are already strongly in evidence. The remainder of the cast completed a satisfyingly strong ensemble. Grigory Shkarupa’s Sparafucile was pleasingly sung while Giorgi Mtchedlishvili’s Monterone was just as riveting in the second act as the first. Mad with anguish, he made a powerful counterpoint to Maltman. While Maltman remained largely emotionally restrained, Mtchedlishvili expressed the festering, all-consuming pain of a character whose heart, we feel, is being gnawed apart from the inside as he dwells obsessively on the shame the Duke brought to his daughter. Victoria Randem, in the minor dual role of Countess Ceprano and the Act two page, delighted with a voice so rich and creamy that the brevity of her appearances was a cause for sorrow.
Press Service