"I have not heard for a long time such huge and powerful bass. Not only his profundo bass is of a rare timbre for our days but also ... of an outstanding beauty, softness and flexibility."
"…But the real thrill of this evening was Goderdzi Janelidze from the Young Artist program… he filled the hall with a voice that reminded me of an organ, as if moving the walls."
Georgian bass Goderdzi Janelidze is a member of the ensemble at the Bolshoi Theatre of Moscow, where his roles have so far included The Monk Don Carlo, Brander La damnation de Faust and Colline La Bohème.
Janelidze studied at the Paliashvili State Musical College in Batumi, the Batumi Opera Studio and the Tbilissi State Conservatory, before joining the Young Artists Programme at the Bolshoi Theatre, where his roles so far have included Banco Macbeth, the Mill-hand and Officer in a new production of Shostakovich’s Katerina Izmailova, the Monk and Laura's guest in a new production of Dargomyzhsky’s The Stone Guest, the Innkeeper in Puccini’s Manon Lescaut, and the roles of Actor/Robber in a new production of Banevich’s opera for children The Story of Kai and Gerda.
Roles performed elsewhere include Sarastro Die Zauberflöte, Sparafucile Rigoletto, Don Basilio Il Barbiere di Siviglia, Zangal in Paliashvili’s Daisi, Doctor Grenvil La traviata and Zuniga Carmen. Additional roles in his repertoire include Gremin Eugene Onegin and Konchak Prince Igor.
Engagements in the 2017-18 season include Sparafucile Rigoletto (Canadian Opera Company) and Konchak Prince Igor (Bolshoi Theatre).
This biography is for information only and should not be reproduced.
Eugene Onegin (Prince Gremin), Vancouver Opera
Vancouver Opera, May 2018
in the short time he was onstage, Georgian bass Goderdzi Janelidze commanded the stage while establishing the essential nobility of his character in some of the most gorgeous and most ‘echt-Russian’ music ever written for the bass voice. Janelidze had a resonance in his low range that many a bass could only dream of.
Georgian bass Goderdzi Janelidze has an enormous voice and low notes that can purr or throb with raw intensity as required. He gets only what amounts to an extended third-act cameo, but it’s one of the glories of the production.
David Gordon Duke, Vancouver Sun
Rigoletto (Sparafucile), Canadian Opera Company
21 January 2018
Goderdzi Janelidze also impressed as Sparafucile; singing with solidity and power while exuding a quiet menace.
John Gilks, Bachtrack