Golda Schultz

Soprano

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“Really outstanding is Golda Schultz as Agathe. Her voice is warm, natural, focused, it glows – a voice whose emotional power and beauty no one can resist. This was world class.”
(BR Klassik, February 2021)

South African soprano Golda Schultz is internationally hailed as one of today’s most talented and versatile artists; as at home in leading operatic roles as she is as featured soloist with the world’s foremost orchestras and conductors, she garners consistent praise for a fresh, radiant stage personality and lustrous tone. BR-Klassik wrote of her recent role debut as Agathe in Weber’s Der Freischütz at Bayerische Staatsoper: “Her voice is warm, natural, focused, it glows – a voice whose emotional power and beauty no one can resist. This was world class.”

In the 2021/2022 season Golda Schultz adds two new roles to her repertoire: Anne Trulove in The Rake’s Progress which she sings at the Metropolitan Opera under Susanna Mälkki, and Adina in L’elisir d’amore which marks her debut at Opéra national de Bordeaux under Nil Venditti. Further appearances include reprising Agathe at Bayerische Staatsoper, and Contessa Almaviva (Le nozze di Figaro) at The Met.

On the concert platform, Schultz will open the season with Danish National Symphony Orchestra and Fabio Luisi in Mahler and the Los Angeles Philharmonic Orchestra and Gustavo Dudamel in Strauss’ Vier letzte Lieder. She sings Mendelssohn’s Elias with Gewandhausorchester Leipzig and Andris Nelsons, Mozart’s Requiem as part of Salzburger Osterfestspiele under Christian Thielemann, Barber’s Knoxville, Summer of 1915 with Orchestre Philharmonique de Radio France and Santtu-Matias Rouvali, and debuts with the New York Philharmonic Orchestra, also under Rouvali, in Strauss’ Brentano Lieder.

“I go, I go to him” from The Rake's Progress © The Metropolitan Opera

An exclusive recording artist for Outhere Music France, Schultz’s debut album ‘This Be Her Verse’ is released in April 2022 on Alpha Classics. Performing alongside collaborative pianist Jonathan Ware, the programme explores the worlds and inspirations of female composers from the Romantic era to present day, including a commission by Kathleen Tagg and Lila Palmer, with featured recitals this season in Berlin, Köln, Edinburgh, Aix-en-Provence, Philadelphia, San Francisco and Halifax, NS.

Trained at New York’s Juilliard School and Bayerische Staatsoper’s Opernstudio, Schultz found immediate success on both sides of the Atlantic through operatic appearances including Contessa Almaviva at Wiener Staatsoper, Opernhaus Zürich and Glyndebourne Festival Opera, Sophie (Der Rosenkavalier) at Salzburger Festspiele and New National Theatre Tokyo, Clara in Jake Heggie’s It’s A Wonderful Life at San Francisco Opera, Liù (Turandot) at Wiener Staatsoper and Bayerische Staatsoper, Susanna (Le nozze di Figaro) at Teatro alla Scala, Pamina (Die Zauberflöte), Nanetta (Falstaff), Clara (Porgy and Bess) and Sophie at The Metropolitan Opera and Vitellia (La clemenza di Tito) at Salzburger Festspiele.

In 2020, Golda Schultz was featured soloist of The Last Night of the BBC Proms and, together with Dalia Stasevska and the BBC Symphony Orchestra, their specially-curated programme was broadcast live on radio and television to a global audience of millions. Other recent concert highlights include a remarkable week with the Los Angeles Philharmonic during which she joined Esa-Pekka Salonen for Sibelius’ Luonnotar, Gustavo Dudamel for Beethoven’s Symphony No.9, and Zubin Mehta for Mahler’s Symphony No.2. With The Cleveland Orchestra and Franz Welser-Möst she performed Haydn’s Die Jahreszeiten in Cleveland and at New York’s Carnegie Hall, and in Mozart’s Requiem she debuted with the Philadelphia Orchestra and Yannick Nézet-Séguin. Last season, Golda Schultz joined Accademia Nazionale di Santa Cecilia in an all-Mozart gala under Riccardo Minasi and she debuts at the Edinburgh International Festival in Errollyn Wallen’s new work Dido’s Ghost in the summer of 2021.

Gallery

‘Beim Schlafengehen’ from Vier letzte Lieder © Filmed at Walt Disney Concert Hall, courtesy of the LA Phil

'Leise, leise, fromme Weise' from Der Freischütz © Bayerishe Staatsoper

'Porgi amor' extract from Le nozze di Figaro © Metropolitan Opera

Summertime from Porgy & Bess © Metropolitan Opera

Morgen! © Livewire, BBC Proms

Nacht und Traume D827 © Bayerische Staatsoper

“Schultz articulates so clearly that you have to listen…Schultz leads her richly-timbred voice in a surprisingly instrumental way, thus perfectly reflecting the character of [Tagg and Palmer’s new song cycle]”.

Die Deutsche Bühne, April 2022

“Not only because Golda Schultz sings with a wonderfully warm, yet extremely expressive voice, [but] her technique is so flawless that in the entire hour-long album, not a single even remotely unattractive note can be heard.”

(BR-Klassik, Apr 2022)

“Schultz is putting her gifts to good use…Jonathan Ware brings a theatrical sensibility to [Mayer’s Erlkönig], matching Schultz’s ease as an art song raconteur…at her best, she sings with lustrous delicacy and operatic urgency.”

(New York Times, Apr 2022)

“On the other hand, it is impossible not to succumb to Golda Schultz’s Adina whose stage presence and ease are combined with a luscious voice: sweet, generous, fruity but devoid of acidity.”

(Forum Opéra, Apr 2022)

“The musical realisation of this Der Freischütz is no less remarkable, with special mention to soprano Golda Schultz’s overwhelming Agathe, sung with exceptionally honeyed tones.”

(Télérama, Apr 2022)

“Her new album with pianist Jonathan Ware, This Be Her Verse, confirms her versatility and musical intelligence…The album’s title is from a new song cycle by Tagg, to texts by Lila Palmer. Commissioned by Schultz, they are deft, upbeat, sharp and true”

(Fiona Maddocks, Guardian, Apr 2022)

“With a luminous timbre, easy top range, warm phrasing, and wonderfully spontaneous expression, [Schultz] seduces the audience completely across each of the very different works.”

(Diapason, March 2022)

“Golda Schultz was serene and confident, her voice silky and immaculate…she was superb, singing with the combination of purity and humanity that characterises the best Strauss ingénues.”

(Zachary Woolfe, New York Times, February 2022)

“The South African soprano brought a programme of female composers that spanned three centuries, three languages and several continents. The resulting evening brimmed with intelligence and charm – an ideal combination of musical wit and curatorial thought that made for a concert to remember.”

(Bachtrack, Jan 2022)

“As the Countess, Schultz delivered a poised, silky ‘Porgi amor’.”

(Zachary Woolfe, New York Times, Jan 2022)

“In radiant voice from the start with Clara Schumann, the lyric soprano showed herself in full control of her artistic resources…This singer clearly loves to communicate.”

(Opera News, September 2021)

“Soprano Golda Schultz caressed the vocal line of Samuel Barber’s ‘Knoxville: Summer of 1915’ with such ease and attention to James Agee’s deceptively powerful words, that it could bring tears to a receptive listener. Her creamy soprano sound and pinpoint articulation combined with a sense of freedom that let the music float serenely…the South African soprano’s delivery channelled the flavours of small-town America beautifully.”

(Aspen Times, July 2021)

“With a powerful voice and passionate interpretation, Golda Schultz performs classical texts and modern poetry at Kissinger Sommer in a programme of songs exclusively by female composers.”

(Main-Post, Jun 2021)

“Golda Schultz as Agathe is a revelation…radiating with skill and emotion”

(Die Welt, February 2021)

“Really outstanding is Golda Schultz as Agathe. Her voice is warm, it is natural, it is focused, it glows – a voice whose emotional power and beauty no one can resist. This was world class.”

(BR-Klassik, February 2021)

“Golda Schultz mesmerizes with glorious cantilenas in her role debut as Agathe”

(Deutschlandfunk Kultur, February 2021)

“[O]ne doesn’t know what to praise more about [Golda Schultz’] Agathe: the almost perfect tone and breath control in her two dangerously lyrical arias, where the voice lies so naked and bare. Or the easeful depth, the soft roundness in the high notes. Or her so intelligent awareness of the text.”

(Münchner Merkur, February 2021)

“A soprano of unearthly lyrical beauty”

(Frankfurter Rundschau, February 2021)

“The ensemble is in fact superb. First and foremost, with wonderful naturalness, with a knowing, heartfelt, magnificent soprano: Golda Schultz as Agathe.“

(Neue Württembergische Zeitung, February 2021)

“But if there’s one unmissable reason to log on, it’s for Golda Schultz’s Agathe, whose luscious arias she sings with creamy beauty and an undertow of desperate fragility. Here the opera’s defining tension – purity threatened by corruption – really seems to hit home.”

(The Times, Neil Fisher, February 2021)

“Only in the sound of the Bavarian State Orchestra […], in the warm, exceedingly captivating voice of Golda Schultz and in her face when she opens the window to the aria ‘Leise, leise, fromme Weise’, one hears and sees the soothing power of moonlight, cricket, nightingale, of evening air and birch grove.”

(Frankfurter Allgemeine Zeitung, February 2021)

“Golda Schultz musically hits the blend of elegy and enthusiasm that is essential for a good Agathe. The voice is agile enough for the blissful rapture of the coloratura, the slightly dark middle register colouring the great aria ‘Leise, leise’ and the cavatina with a ravishing melancholy. The role has not been sung this well in a long time.“

(Abendzeitung München, February 2021)

“Golda Schultz is the undisputed winner [of the evening]. Her beautifully timbred lyric soprano has delightful colours, technically the voice is well led, her diction is clean and she forms a well-balanced pair with Max.“

(Klassik begeistert, February 2021)

“Outshining them all was soprano Golda Schultz: her Agathe sounded like golden sunshine, yet soft, effortlessly malleable and warm-hearted”

(Neue Musik Zeitung, February 2021)

“Golda Schultz, the colours of her voice on magnificent display as Clara, and her ‘Summertime’ as movingly given as one is likely to hear it.”

(Opera Magazine, September 2020)

“It was a bold reinvention much helped by the golden, easeful soprano voice of Golda Schultz, the evening’s star vocalist.”

(Anita Singh, Sunday Telegraph, September 2020)

“Some show tunes and arias, sung by the soprano Golda Schultz with a generosity and warmth that couldn’t have been more potent if she really had been singing to a packed and cheering Royal Albert Hall, rather than TV cameras and emptiness.”

(Spectator, September 2020)

“As Clara, Golda Schultz’s lavish soprano and good diction help her launch the opera with a poised ‘Summertime’.”

(George Hall, BBC Music Magazine, June 2020)

“The lustrous soprano Golda Schultz burnt our ears in the concert aria Ah! Perfido”

(The Times, March 2020)

“Golda Schultz led off the evening with a meltingly beautiful ‘Summertime’.”

(Opera Magazine, December 2019)

“The soprano Golda Schultz was a radiant-voiced and tenderly innocent Sophie.”

(Anthony Tommasini, New York Times, Dec 2019)

“Golda Schultz’s beguiling Sophie is sung with resonant tonal beauty and polished musicality, and she too has an infectious pianissimo moment.”

(FT, December 2019)

“In the opening scene, Clara (the exquisite soprano Golda Schultz) sings the wistful lullaby “Summertime” to her baby boy.”

(Anthony Tommasini, New York, Times, September 2019)

“Clara, who as sung by Golda Schultz was less sheerly beautiful of voice and more believable as a person than I’ve often seen her.”

(Anne Midgette, Washington Post, September 2019)

“When Schultz sings, everything becomes clear, it is as if one looks directly into the soul of the “Junge Nonne”. Because she does not create artificial drama from the verse, because she does not suppress it, but rather unlocks the song from within and in this way makes them all the more powerful.”

(Der Tagesspiegel, June 2019)

“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)

“In Beethoven’s aria “Ah, perfido!” the Konzerthausorchester delicately supported Schultz’s powerful vocal performance, lending her voice to the contradictory feelings of anger and despair through the aria. In Mozart’s concert arias “Vado, ma dove” and “Misera, dove son,” desperate women are on show, but Golda Schultz’s soprano is full of self-confidence.”

(Der Tagesspiegel, Sep 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)