Golda Schultz

Golda Schultz

Soprano
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“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)

Golda Schultz’s profile continues to rise with each critically-acclaimed debut she makes, be it as Sophie (Der Rosenkavalier) at Salzburger Festspiele, Susanna (Le nozze di Figaro) at Teatro alla Scala, Pamina (Die Zauberflöte) at the Metropolitan Opera, on stage at Carnegie Hall in Haydn’s Die Jahreszeiten with Franz Welser-Möst, or in Brahms’ Ein deutsches Requiem at London’s Royal Albert Hall as part of the 2018 BBC Proms. Of her Glyndebourne Festival debut as Contessa Almaviva (Le nozze di Figaro), The Guardian wrote, ​“It’s hard to imagine finer soprano singing or a more exuberant portrayal than that supplied by Golda Schultz.” 

Born in South Africa, Schultz is a graduate of New York’s prestigious Juilliard School, and a former member of Bayerische Staatsoper’s ensemble where she continues to perform regularly in roles including Fiordiligi (Così fan tutte), Liù (Turandot), Musetta (La bohème), Micaëla (Carmen) and Pamina. She returned to Salzburger Festspiele in 2017 as Vitellia (La clemenza di Tito) in a new production by Peter Sellars under Teodor Currentzis, and debuted at New National Theatre Tokyo last season as Sophie.

The current season brings Schultz’s debut at Wiener Staatsoper as well as her return to Opernhaus Zürich – both as Contessa Almaviva – a first appearance on the stage of San Francisco Opera as Clara in Jake Heggie’s It’s a Wonderful Life, and a return to the Metropolitan Opera as Nannetta (Falstaff). A strong season for concerts, Golda joins Gustavo Dudamel and the Mahler Chamber Orchestra for Mahler Symphony No.4, Riccardo Minasi and the Konzerthausorchester Berlin for Beethoven and Mozart, Kirill Petrenko and the orchestra of the Bayerische Staatsoper for their annual ​“Oper für alle” concert as part of the Münchner Opernfestspiele, and she sings Mahler Symphony No.2 both with Hannu Lintu and Finnish Radio Symphony Orchestra and with Fabio Luisi at the Verbier Festival. After a highly acclaimed debut recital at London’s esteemed Wigmore Hall, Golda Schultz and Jonathan Ware join forces again this season for an all-Schubert recital at Berlin’s Boulez Saal, and a Schubert and Strauss programme for the Richard-Strauss-Festival.

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“Deh vieni non tardar”, Le nozze di Figaro © Teatro alla Scala, C Major

Gallery

Golda Schultz 7
Figaro
Golda Schultz 1
Golda Schultz 2
Golda Schultz 4
Golda 4 - (c) JÖRG LANDSBERG
Golda Schultz 6
(c) Cory Weaver, San Francisco Opera
(c) Cory Weaver, San Francisco Opera
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'Sul fil d’un soffio etesio' extract from Falstaff © Metropolitan Opera
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Brahms Requiem, Aug 2018 © BBC Proms, BBC Symphony Orchestra
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Puccini: La rondine - Chi il bel sogno di Doretta © Stars von Morgen, Arte
Schubert: Romanze aus Rosamunde D797.3 © BBC Radio 3, Wigmore Hall
Golda Schultz
Strauss: Ich wolt ein Sträusslein binden from Brentano Lieder © Iceland Symphony Orchestra

“the merry wives were a zesty, vocally polished lot: Golda Schultz, an exquisite Nanetta”

(Opera Magazine, May 2019)

“the exquisite soprano Golda Schultz, endearing as Nannetta”

(New York Times, Anthony Tommasini February 2019)

“the soprano Golda Schultz, in a vocally arresting company debut”

(Opera magazine, March 2019)

“sung with exquisite versatility and grace by debuting soprano Golda Schultz.”

(San Francisco Chronicle, November 2018)

“Powerful soprano Golda Schultz literally and figuratively soared, particularly with her inspirational aria ​“Mustn’t Fail”

(San Francisco Examiner, November 2018)

“Above all, Golda Schultz makes a brilliant debut as Contessa Almaviva at the Wiener Staatsoper. Strong and energetic both vocally and in her characterisation”

(Wiener Zeitung, November 2018)

“the enchanting soprano Golda Schultz.”

(Times, August 2018)

“Golda Schultz’s solo ​‘Ihr habt nun Traurigkeit’ offered a near ideal blend of the angelic and the womanly”

(Opera Today, August 2018)

“Golda Schultz’s fine voice floated beautifully and eloquently into the vast auditorium.”

(Seen & Heard, August 2018)

“Golda Schultz’s sparkling Susanna…Schultz’s soprano is cream and gold – and [she and the Contessa] heart-stoppingly intertwine in the Letter duet.”

(Gramophone, February 2018)

“The South African soprano Golda Schultz, new to me, was a consistent joy in the Cleveland Orchestra’s recent presentation of Haydn’s oratorio ​“The Seasons”…Ms Schultz, a favourite of Mr Welser-Möst, sang with clear, pure tone and conveyed a sparkling personality, with a ready sense of humour”

(New York Times, January 2018)

“Of the trio, the standout by far was the Hanne of Golda Schultz … she brought a winning, bright-eyed stage presence to match the irresistible energy of her voice. …. her soprano is at its most affecting when she lets it be cool and liquid. She can spin off a line of pure silk with ease, and showed perfect control … delicately and precisely crafting her phrases”

(New York Classical Review, January 2018)

“Golda Schultz is earning a reputation as an up-and-coming opera star, and she did not disappoint here. Her tone was pure and shining, and she managed Haydn’s many high notes with floating ease; her coloratura was cleanly articulated.”

(Bachtrack, January 2018)

“Golda Schultz a rich-voiced Pamina.”

(Opera Magazine, November 2017)

“Another debut artist, the soprano Golda Schultz, was the true star of ​“Flute” as Pamina, her voice buoyant yet substantial, creamy but never heavy.”

(New York Times, Zachary Woolfe, September 2017)

“Lovely and girlish onstage, she offered a radiant, sunny lyric sound deployed with seamless legato throughout her range. All of Pamina’s potential trouble spots — the double climax of ​“Bei Männern,” the G minor aria’s many pitfalls, the sustained B in ​“Bald prangt” — were taken with great aplomb.”

(Opera News, September 2017)

“the South African soprano Golda Schultz making a dazzling debut as Pamina”

(Huffington Post, September 2017)

“Golda Schultz gives us a wonderfully sophisticated super-bitch as Vitellia” *****

(Financial Times, Shirley Apthorp, August 2017)

“In the role of Vitellia, Golda Schultz sings with a round and sonorous tone…[she] makes Vitellia’s rage and remorse all the more palpable”

(Opera Online, August 2017)

“Golda Schultz is a wonderful Vitellia who, with her noble, passionate soprano, impressively transforms from vengeful to repentant.”

(Wiener Zeitung, July 2017)

“Golda Schultz sang with a silky, glossy soprano as Vitellia”

(Frankfurter Rundschau, July 2017)

“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)
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