“the star South African soprano Golda Schultz, a Lucerne Festival ​‘artiste étoile’, with the American pianist Jonathan Ware, gave a stimulating recital of music spanning the past two centuries…Schultz’s warm humour beguiled her audience between sets, but the knockout power and dramatic range of her singing had the capacity crowd shouting for more.”

“Golda Schultz, with her collaborator Jonathan Ware on the piano, gives [the female composers] the floor in a real musical journey…Her pure and frank tone which marries the curve of each melody” ★ ★ ★ ★ ★

“Golda Schultz is one of those astonishingly gifted South African singers who are now taking the world’s opera houses and concert halls by storm…Schultz has a magnificent vocal instrument, rich and glowing throughout the range, with not a weak patch anywhere…overall this is a stunning debut disc of a soprano who is well on the way to operatic stardom.”

“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.”

“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.”

“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”

“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.”

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

“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.”

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

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

“A soprano of unearthly lyrical beauty”

“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.”

“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.“

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

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

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

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

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

“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.”

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

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

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

“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.”

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

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

“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”

“Golda Schultz a rich-voiced Pamina.”

“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.”

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

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

“Ms Schultz was magnificent in every way [as Sophie]”

“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”

“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.”

“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”.

“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.”

“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.”

“South African soprano Golda Schultz, as Countess Almaviva, has an exquisitely beautiful voice”

“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].”