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)

A handful of important debuts has confirmed South African Golda Schultz as a major name to watch including as Sophie (Der Rosenkavalier) at both the Münchner Opernfestspiele and Salzburger Festspiele, and as Susanna and Contessa (Le nozze di Figaro) at Teatro alla Scala and the Glyndebourne Festival respectively: “It’s hard to imagine finer soprano singing” (The Guardian).

A graduate of New York’s prestigious Juilliard School and a former member of Bayerische Staatsoper’s Opernstudio, Schultz makes her anticipated debut at the Metropolitan Opera this season as Pamina (Die Zauberflöte) under James Levine, scheduled for live international cinema broadcast. In addition to Sophie under Ulf Schirmer at Tokyo’s New National Theatre, Golda Schultz further expands an already exciting concert profile through performances of Haydn’s Die Jahreszeitenwith The Cleveland Orchestra under Franz Welser-Möst, both at home and at New York’s Carnegie Hall, and of Mendelssohn’s Elijah under Music Director Fabio Luisi at Opernhaus Zürich. Together with regular recital partner, Jonathan Ware, Golda Schultz will perform for the first time at London’s iconic Wigmore Hall, scheduled for live broadcast on BBC Radio 3.

Puccini: La rondine - Chi il bel sogno di Doretta © Stars von Morgen, Arte

Gallery

Villa-Lobos: Dança from Bachianas Brasileiras No.5 © BBC Radio 3

Strauss: Ich wolt ein Sträusslein binden from Brentano Lieder © Iceland Symphony Orchestra

Beethoven: Ah, perfido! (extract) © Orquesta Sinfónica del Principade de Asturias

“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 débutante 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)