There are some contortions you can try before throwing in the towel. Granted, in this case they might not buy you a lot.
You can try taking the note with the left hand, but the reach is at least as large so the problem is the same: this will help only if your hand spans differ. When the thumb skirting the A3 is the problem, you might switch hands in order to have the left (or right) pinky in place of the G3 as either Eb2 or Bb4 stick out in a manner where the thumb should not have a problem. But you'd have to work out a good point of switching over (and this is a fast piece) and it's not clear that the pinky will fare better.
I remember some Mozart menuet(?) I played on chromatic button accordion with free bass where I asked the teacher how one note was supposed to be played at all on the piano, given that it was sort of a stretch on CBA. After some mutual deliberation we decided that this rather isolated note definitely called for using the nose, nothing else possibly being in reach. If you were going for that version, you'd likely also take the G4 written on the sixth note in the second hand, but the Bb3 and Ab3 in the same voice would not work that way.
So all in all, the rolling suggestion is most likely the best, short of leaving one note out altogether. You'll have to figure out how to do it best so that the top line's grouping of three remains recognizable while the hemiola character of the central line is done justice. When rolling upwards, quaver 5 on G4 will necessarily be short and a bit early and you'll want to do this similarly for quaver 6 on G4 in order to make for consistent voicing.