|Gars am Kamp – Aida - AMNERIS
|No less powerful is the Georgian mezzo soprano Nana Dzidziguri as Amneris. She is a proud princess, which is also emphasized by the slight pungency in her timbre. Authentically and powerfully, she desperately tries to save Radames.
|ORPHEUS 05/2023, Susanne Dressler
|The Georgian mezzosoprano Nana Dzidziguri has a imposing, rich voice. Technically Amneris has to sing no arias, but she is absolutely indispensable in many duets and trios with Aida and Radames. Originally plotting revenge out of jealousy towards the couple, she begins to regret deeply to have extradited them to the death penalty. The way Dzidziguri leaves the stage during the trial, vainly trying to intervene and change the priests’ mind with a clear and determined voice from without, seems just as honest and authentical as her discernment and apology sounding from the background the final scene. All resulting in her sincerely wishing the convicted couple peace. A fabulous singer/actress with great sensitivity and an outstanding aura.
|Nana Dzidziguri as the Egyptian princess Amneris is responsible for jealousy and revenge, in which the Georgian singer succeeds effortlessly.
|Nana Dzidziguri as Amneris was able to show all the facets of her voice,...
|...and Nana Dzidziguri (Amneris) make us wait in eager for other successes. Another opera delight with lots of flair and great voices.
|The Gregoria mezzo soprano Nana Dzidziguri as Amneris garnered loud applause,...
|K Wir machen das klar!
|Opernhaus Bonn - Un ballo in maschera - ULRICA
|The mezzo soprano Nana Dzidiguri, who vocally gave Ulrica a sometimes demonic attitude, also has a strong stage presence. Besides, her remarkable voice has the necessary depth and flexibility, required for the role.
|Das Opernglas 2/2023 L.-E. Gerth
|Also extraordinary is Nana Dzidziguri as Ulrica, the first real alto singer in Verdi’s work like Preziosilla and Azucena With deep tones she succeeds in giving a very impressive interpretation of the demonic fortune teller.
|Nana Dzidziguri as Ulrica is fantastic; with a fascinating timbre in the low repertoire and power in the heights she also vocally turns her appearance into a great theatre performance, which is staged as such anyway: a gruesome revue number, which enormously gains in size thourgh the music.
|Delft Chamber Music Festival - CONCERT
|The romantic picture of the singer, all dressed in pink with a golden crown on her head, was even intensified by Dzidziguri’s warm and captivating voice… Right from the beginning, as soon as she started to sing Im wunderschönen Mai the audience was all up with her. Her beautiful voice has a large dynamical range. It was deep and rich in the lower registers and absolutely warm like liquid honey in the middle registers. Her voice was powerful or delicate and transparent depending on the Lied. In all her songs Nana stayed clear and comprehensible, even in the smooth passages, in which her notes were just as round as in her heavy exclamations.
|Theater Münster – Der Mann von La Mancha - DULCINEA
|Nana Dzidziguri portrays a proud and powerful woman, who has to prove herself against the bold advances of the male actors. As a cleaning woman, she is fair game in a patriarchal bourgeois world. The mezzo soprano impresses with her stage presence and the song „Dulcinea“, which went down in history as a musical classic. She sings the song with gentle melancholy.
|... but above all, the Münster performance is a feast for the ears, thanks Gregor Dalal’s vocal stature, Nana Dzidziguri’s passionate ductus as Dulcinea.
|Theater Münster – Candide – OLD LADY
|Whereas Nana Dzidziguri as the Old Lady particularly scored with her erotic deep notes.
|M. Lode-Gerke, Das Opernglas , October 2021
| Nana Dzidziguri enthralled as „weird old lady“ with her remarkable mezzo voice, for example in „I am easily assimilated“ – as tango, one of the work’s great hits – in different languages with the description of her flexibility.
|Staatstheater Braunschweig – Carmen – CARMEN
|The Georgian mezzosoprano Nana Dzidziguri, who already sang the role in Tiflis and who already shone in Braunschweig as Eboli in Verdi’s “Don Carlo”, presented a Carmen with warm, female treats. When her glimpse focused for a flirt on Don José, one could truly sense playfulness and curiosity but also affection. She is not so much a calculating vamp but rather a searching soul. Which she perfectly expresses with her velvet-like, blissfully warm voice. As she refuses Don José to take her in the dramatic showdown, the singing comes from the passionate depths of her mezzo voice in perfectly noble self-assertion. A gripping portrayal!
|Nana Dzidziguri was a Carmen with a strong charisma, whose portrayal proved that the gipsy truly loves Don José in the first two acts. It is but later that she is unable- for whatever what reason - to escape Escamillo’s macho behaviour. The Georgian made a strong impression with her rich mezzo soprano voice, that was well-balances in all registers.
|Landestheater Detmold – Luisa Miller - FREDERICA
|The role of Frederica was portrayed this time by the Georgian mezzo soprano Nana Dzidziguri, who war particularly outstanding because of her impressive deep tones.
|Theater Osnabrück – Falstaff – MRS QUICKLEY
|Mrs. Quickly (Nana Dzidziguri), who didn’t receive a love letter but only contributed to the confusion by running errands, was the big surprise of the evening. The Georgian-born mezzo soprano demonstrated her brilliance with her warm, sonorous depths and an extremely well balanced, beautiful voice. Recently, the singer could be seen in the excellent rediscovery of Alberic Magnard’s opera ‘Guercoeur’. In 2020 she will make her debut as SIEGRUNE at the Festival in Bayreuth.
|M.Thomzik Opernglas November 2019
|A real discovery is Nana Dzidziguri as Ms Quickly. In the high registers her mezzo soprano voice becomes nobly willow and in the low registers it turns space-taking full and wonderfully earthy. To that, she plays an extremely agile lady, which Falstaff should court in the first place. This role just can’t be portrayed more convincing.
|Another guest singer at the house is Nana Dzidziguri, who already impressed me as Souffrance in Guercœur. Also as Mrs. Quickley she fascinates with her addictive, profound mezzo sound. I am very much looking forward to her Bayreuth debut next year.
|Theater Osnabrück – Guercoeur - SOUFFRANCE
|…whereas Nana Dzidziguri’s Souffrance can only be described as adorable. The Georgian’s throaty deep notes wounds one to the core.
|…and above all Nana Dzidziguri with her sonorous alto voice… Souffrance (suffering),...
|Neue Osnabrücker Zeitung
|Theater Neubrandenburg/Neustrelitz – Un ballo in maschera - ULRICA
|…Nana Dzidziguri with her voluminous mezzo voice and her snake-like movements gave an impressive portrayal of Ulrica and her fate.
|Orpheus 02/2019 – Iris Steiner
|Opernhaus Wuppertal – Luisa Miller - FREDERICA
|Nana Dzidziguri an enchanting Federica, not only because of her uncredibly velvet chest voice register.
|Opernglas 2/2019 M.Lode-Gerke
|Brillant Nana Dzidziguri with her dark voice and charisma.
|Neubrandenburgische Zeitung - Frank Wilhelm
|….and Nana Dzidziguri sings enchantingly beautifully the duchess Frederica (who competes with Luisa for the love of Rodolfo).
|As soon as possible we would like to see the Georgian Mezzo soprano Nana Dzidziguri ( Frederica), who is really fascinating in every way, again.
|Her female counterpart Frederica , is sung just as exceptionally by Nana Dzidziguri with a wonderful soprano voice, reaching from her sounding chest into slender high registers.
|Online Merker, Christian Konz
|Because at the time the opera was wrote, it was not allowed to have a second female principal role, Verdi had to turn the role of Frederica in a part with reduced stage presence. Which was really too bad on this evening. How I would have loved to hear much more of the Georgian Nana Dzidziguri’s luxurious mezzo soprano voice! Shortly, the Wuppertal audience can look forward to this singer’s passionate, noble Carmen interpretation.
|Nana Dzidziguri’s powerful mezzo voice makes it quite clear that she is a mature, experienced, self-confident Frederica.
|Nana Dzidziguri succeeds as the duchess Federica with her dark timbred mezzo soprano voice and her glamorous acting. She has convincingly assimilated into the wicked world and is a counterpole to Luisa.
|Online Musik Magazin
|Nana Dzidziguri with her rich, powerful, remarkably appealing mezzo voice… she has an enormous stage presence.
|Die deutsche Bühne
|Staatstheater Braunschweig - CARMEN
|…the Georgian mezzo soprano Nana Dzidziguri, who already sang Carmen in Tiflis and succeeded in Braunschweig as Eboli in Verdi’s „Don Carlo“, portrayed a Carmen with warm, female traits. When her gaze rests on José to flirt with him, one can sense playfulness, curiosity but also affection. She is not so much a calculating vamp but more a searching soul. And that is what her velvet, pleasantly warm voice expresses. In the final countdown, when José refuses to take her, one can perfectly feel Carmen’s sublime self-assertion in the passionate depth of her mezzo voice. An enthralling portrayal.
|Andreas Berger / Braunshweiger Zeitung
|Staatstheater Braunschweig – Don Carlo – EBOLI
|Nana Dzidziguri enthralled with strong mezzo tone full of deep power and brilliantly rising middle register, a ‘world voice’.
|Nana Dzidziguri is a beguiling Eboli, sings the Moorish song with secure coloraturas and grants her final appearance a dramatic intensity.
|…also Nana Dzidziguri very beguiling!
|Staatstheater Braunschweig – Hänsel und Gretel – GERTRUD
|The beautiful depths of her mezzo voice make Nana Dzidziguri’s interpretation of the Mother emotionally touching.
|Nana Dzidziguri as the Mother could be her sister. Her mezzo voice impresses with its serenity and its youthful vigour. .
|Online Musik Magazineg