Golda Schultz
Soprano

“It’s hard to imagine finer soprano singing or [a] more exuberant portrayal of the Countess than [that] supplied by Golda Schultz” (George Hall, The Guardian)

Contacts

Shirley Thomson +44 (0)20 3725 9173
Georgina Wheatley +44 (0)20 3725 9185

Biography

Her debut at the 2014 Salzburger Festspiele (Sophie, Der Rosenkavalier) has confirmed Golda Schultz as one of today’s most exciting artists. She made her principal role debut at Bayerische Staatsoper in 2012 as Contessa Almaviva (Le nozze di Figaro), and has since appeared at Opernhaus Zürich and Glyndebourne Festival in this role, and at Staatsoper Hamburg in the world premiere of Beat Furrer’s La bianca notte (creating the lead female role, Sibilla).

Her debut at the 2014 Salzburger Festspiele (Sophie, Der Rosenkavalier) has confirmed Golda Schultz as one of today’s most exciting artists. She made her principal role debut at Bayerische Staatsoper in 2012 as Contessa Almaviva (Le nozze di Figaro), and has since appeared at Opernhaus Zürich and Glyndebourne Festival in this role, and at Staatsoper Hamburg in the world premiere of Beat Furrer’s La bianca notte (creating the lead female role, Sibilla).

This season, Golda makes her house and role debut at Teatro alla Scala as Susanna (Le nozze di Figaro) under Franz Welser-Möst, returns to Salzburger Festspiele for her first Vitellia (La clemenza di Tito) under Teodor Currentzis in a new production by Peter Sellars, and continues as a member of the Bayerische Staatsoper ensemble with roles including Pamina (Die Zauberflöte) and Liù (Turandot), among others. 

Golda also makes a number of exciting concert debuts this season including with National Symphony Orchestra, Washington, for Mahler’s Symphony No.2 under Christoph Eschenbach, with the Gewandhausorchester Leipzig in Tippett’s A Child of Our Time under Stefan Asbury, and with Finnish Radio Symphony Orchestra in a programme of Mozart concert arias under John Storgårds.

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Contacts

Shirley Thomson +44 (0)20 3725 9173
Georgina Wheatley +44 (0)20 3725 9185

Reviews

“Ms Schultz was magnificent in every way [as Sophie]” (Seen and Heard, February 2017)

“That role [Liù] was shiningly sung by Golda Schultz, suggesting a stellar future in the ‘Freni’ roles (her limpid pianissimos at the climaxes of ‘Signore ascolta’ and ‘Tu che di gel sei cinta’ were something to marvel at).” (Hugh Canning, Opera Magazine, February 2017)

“The best in the cast was South African soprano Golda Schultz as Liù…Her attractive voice is nicely suited to the role, and she sings with gusto” (Seen & Heard, December 2016)

“Ms Schultz was magnificent in every way [as Sophie]” (Seen and Heard, February 2017)

“That role [Liù] was shiningly sung by Golda Schultz, suggesting a stellar future in the ‘Freni’ roles (her limpid pianissimos at the climaxes of ‘Signore ascolta’ and ‘Tu che di gel sei cinta’ were something to marvel at).” (Hugh Canning, Opera Magazine, February 2017)

“The best in the cast was South African soprano Golda Schultz as Liù…Her attractive voice is nicely suited to the role, and she sings with gusto” (Seen & Heard, December 2016)

“Soprano Golda Schultz has a voice that is well-suited to the role of Susanna. She’s very musical and sings with gusto.” (Seen and Heard, November 2016)

“The South African soprano Golda Schultz was a revelation as Susanna, with a polished timbre, great musicality and precise diction; subtly sensual and flirtatious, she sang her aria “Deh vieni, non tardar” impecabbly, sitting inside a crystal chandelier suspended above the stage.” (Connessi’all Opera, November 2016)

“Golda Schultz’s honeyed timbre…Self-confident and vocally agile in her arias” (Bachtrack, October 2016)

“Golda Schultz was a jaunty Susanna in her stage presence and musicality. A rather traditional characterization, her duets with Figaro and the Count demonstrate her sensuality in “Giunse alfin il momento”, and gentle playfulness with the Contessa in “Canzonetta sull’aria”. (Operaclick, October 2016)

“Golda Schultz, who has sung Contessa in Zürich, debuts here as Susanna, a role that fits even better with her comedic character.” (Neue Zürcher Zeitung, October 2016)

“It was Villa-Lobos’s magnificent Bachianas Brasileiras No 5, however, that stole the show, though that was as much due to the singer — the fast-rising South African soprano Golda Schultz — as the 12 cellists. What a luscious, full-blooded timbre she has; even her humming in the famous Cantilena sent shivers down the spine. And what energy she thrust into the fast-pattering syllables of the Dança.” (The Times, Richard Morrison, July 2016)

“A top cast includes some notable debuts: the South African soprano Golda Schultz makes a tremendous, honey-toned Countess Almaviva.” (The Guardian, Stephen Pritchard, July 2016)

“Once in a while a singer new to Glyndebourne gets the house tingling. It happened in 2005 with Danielle de Niese…I felt another crackle of electricity with Golda Schultz – born in South Africa, experienced in Germany, cast as the Countess in Mozart’s Le nozze di Figaro. Schultz doesn’t just add exotic colouring to Michael Grandage’s 2012 show…She also lends a dark vocal lustre and depth of feeling that are immediately showcased in her aria bemoaning the Count’s infidelity.” (Geoff Brown, The Times, July 2016) 

“But it’s the women who are exceptional. It’s hard to imagine finer soprano singing or [a] more exuberant portrayal of the Countess than [that] supplied by Golda Schultz” (George Hall, The Guardian, July 2016)

“South African soprano Golda Schultz, as Countess Almaviva, has an exquisitely beautiful voice” (Ivan Hewett, The Telegraph, July 2016)

“there was time and space for Mozart’s sublime moments. The best of these was the Countess’ lament “Dove sono”, which Glyndebourne debutante Golda Schultz sang with heartfelt beauty, smoothness of voice, with a carefully measured touch of vibrato.” (Bachtrack, July 2016)

“Golda Schultz gave a clear interpretation and excelled as Liù. With a very fine piano, she soared in “Signore ascolta”…With a crystal-clear timbre, she personified the goodness of her character consistently, and even in her final aria before she died “Tu, che di gel sei cinta” demonstrated her unwavering loyalty [to Calaf].” (Bachtrack, April 2016)

“Golda Schultz, a young South African soprano, was the new Sophie, and she is a find. In the presentation scene she launched her crucial high line with purity and finesse…and she sustained that delicate tone until the end of the show.” (Opera Magazine, November 2015)

“Golda Schultz, who recently debuted as Sophie in Der Rosenkavalier at the Salzburger Festspiele, gave an intimate, finely-phrased performance as Fiordiligi, with wonderful dynamic shading and the purest coloratura.” (Kleine Zeitung, September 2015)

“Golda Schultz’s gleaming soprano glides effortlessly through the enormous vocal range of Fiordiligi” (Kronen Zeitung, September 2015)

“Golda Schultz is an enchanting Fiordiligi, with an expressive and fine soprano timbre.” (Woche Kärnten, Klagenfurt, September 2015)

“Golda Schultz was a discovery in Klagenfurt two years ago as Sophie in Der Rosenkavalier – she has now sung that role at the Salzburg Festival and has her La Scala debut as Susanna coming in 2016…Schultz has a natural stage presence and an individual colour to her voice, of course…She sang wonderfully in the Act 2 aria “Per pieta, ben mio” – it was truly touching and she gave a sophisticated interpretation.” (Der Opernfreund, September 2015)

“a wonderful, homogeneous and flawless ensemble of singers led by Golda Schultz. She recently sang Sophie in Der Rosenkavalier at the Salzburg Festival, and gave an intimate, finely-phrased performance as Fiordiligi, with wonderful pianissimi and pure coloratura.” (Opernnetz, September 2015)

“New this year was Golda Schultz as Sophie, singing with a fine, silvery soprano.” (Kurier, August 2015)

“The young Sophie, sung with silvery lustre and an adorable defiance, was played by the Festival debutante Golda Schultz” (Die Presse, August 2015)

“Salzburg Debutante Golda Schultz sings a sympathetic Sophie, her radiant soprano capturing the hearts of the audience” (BR-online, August 2015)

“Golda Schultz as Sibilla demonstrated her gleaming dramatic soprano voice, consistently blazing higher and higher” (Hamburger Abendblatt, May 2015)

“As the speed-obsessed Sibilla, Golda Schultz sings with strength and assurance, her voice with its own distinctively thrilling radiance; she is a newcomer who simply has everything.” (Financial Times, May 2015)

“..... especially Golda Schultz as Micaela who held a lyrical, slender tone. With a wonderful sparkling soprano and great intensity she gave the simple country girl great credibility.” (Der Neue Merker, January 2015)

“Pride of place goes to Schultz’s Countess, sung with beguiling artistry throughout. The reprise in her Dove sono was sung with such fragility that it brought tears to the eyes.” (Cape Times, October 2014)

“Show-stealer par excellence has to be Golda Schultz as the Countess Almaviva: her exquisite soprano doing full justice to arias like “Dove sono” while her interpretation of the role has more spirit than is normally mustered for this victim of an unhappy marriage.” (The Independent, October 2014)

“Golda Schultz as Countess Almaviva had everyone mesmerized with her soaring soprano solos – arias that suspended time.”(What’s On In Cape Town, October 2014)

“Young South African soprano Golda Schultz was a major revelation of the evening as Sophie…she quickly proved to have a beautiful young soprano voice supported by a solid technique. Her high notes were secure, warm and accurate, and she made a wonderful contribution to the final trio.” (Bachtrack.com, July 2014)

“Golda Schultz in the part of Sophie was the best of the entire cast, with a lovely voice and more body than what is usual in these characters. She is a superb singer [and] I think we will hear much more from her.” (Seen & Heard, July 2014)

“With her natural charm and elegance, the South African acts seductively and innocently throughout and is equipped with a bright, secure voice.” (Opernnetz, July 2014)

“Schultz unfolds the exceptional beauty of her warm timbre, lyrical, youthful purity. The magical scene of the encounter with [Sophie and] Octavian in the second act is dominated by the musicianship of this young South African.” (Operaclick, July 2014)

“Golda Schultz embodies a wonderfully effortless Cleopatra, who coped masterfully with all the coloratura.” (Der Standard, February 2014)

“Above all, Golda Schultz, a true Cleopatra here already acclaimed at the Stadttheater, exhibits her sparkling clean, lively coloratura as well as sensitive, poignant tones.” (Opernetz, February 2014)

“Golda Schultz’s Cleopatra is one to really bow down to, and who sings with feeling and crystal-clear coloratura.” (Kurier online, February 2014)

“A new ensemble member, Golda Schultz gave for me the most beautiful performance. An unusually dark-timbred Sophie, she charmed not only with impeccable high notes but also showed great stage presence and provided an authentic, rounded portrayal. Without doubt a lucky find for Klagenfurt and one can look forward to her Cleopatra in Giulio Cesare and Princess in Die liebe zu den drei orangen.” (Opernfreund, September 2013)

“Golda Schultz, with her fresh and natural personality, is ideal casting as Sophie; her youthful and silvery soprano rang clear as a bell.” (Die Presse, September 2013)

“Golda Schultz was an impressive surprise as the soprano. The native South African shows stupendous security in her intonation, highlighting Rossini's razor-sharp coloratura with power and nuance. A great voice.” (Süddeutsche Zeitung, July 2013)

“As Ines [Il trovatore] South African Golda Schultz gave a convincing demonstration of her talent.” (Die Presse, June 2013)

“… complemented above all by Golda Schultz’s crystal-clear Ines.” (tz-online, June 2013)

“Golda Schultz sings Elisabeth [Elegie für junge Liebende] with a wonderfully smooth and warm legato, perfectly expressing the 'tone of magic and tenderness', as it says in the libretto.” (Der Klassikkritiker, May 2013)

“In the concert it was clear that the young singers, as well as being trained musically, had also become real actors. All of them performed with a strong stage presence. This was especially true of the South African soprano Golda Schultz, who has already made a great success in her debut as the Countess in Le Nozze di Figaro at the Bayerische Staatsoper. She convinced first as Vitellia (La Clemenza di Tito), then just as well in the lighter character of La Rondine. It was delightful to hear her fill the hall with her full soprano voice.” (Der neue Merker, November 2012)

“One is already a star: Golda Schultz, from South Africa, with an immaculately delivered, generous soprano voice, a genuine talent for dramatic action and a touching warmth in performance.” (Der Münchner Merkur, June 2012)

“The fox, outstandingly sung with a rich and luscious voice by the young soprano Golda Schultz.” (Abendzeitung München, June 2012)

“[Schultz] mastered this opportunity with bravura. With her warm, clear and nuance-rich voice and her fresh, youthful acting, she captivated the public from the first moment… an altogether auspicious debut [Contessa Almaviva/Le Nozze di Figaro, Bayerische Staatsoper].”  (Der neue Merker, May 2012)

“Another singer who seems destined for a big career, Golda Schultz brings a burnished soprano and a winning personality to Alice, and marks her as a Verdi soprano to watch.” (Seen and Heard International, July 2011)

“Top vocal honors went to South-African soprano Golda Schultz, now a student at Juilliard, who sang Rosina.” (Opera Today, August 2010)