“Perhaps the opera should be called Donna Anna, because she becomes its central figure, the woman whose victimhood is carried and processed with such intensity, courage and honesty that we are all transformed in the crucible of her trauma. This is largely thanks to Golda Schultz’s phenomenal account of the role, a performance with such depth of emotion and musical sophistication that we all begin to breathe with her. The auditorium erupts when she takes her curtain call; this is her night.”

“South African Golda Schultz as Agathe, who knew how to give both a fluidity to her high notes and a softness to her low ones, giving delicacy to her prayers and spice to her dialogue with Annette.”

“As for Golda Schultz, she pushes aside all the clouds allowing the light to come down thanks to her long, supple, deliciously timbred voice and her dreamy phrasing.”

“As the long-suffering Pamina, Golda Schultz gave a model performance with a velvety, broad, even, and perfectly controlled voice. Her highly acclaimed aria, ​“Ach ich fuhl’s,” was a lesson in singing and expressiveness.”

“As Pamina, Golda Schultz offers a powerfully sweet interpretation, with warm high notes.”

“Schultz exuded self-confident passion, Agathe’s ​“Wie nahte mir der Schlummer” sensitively conveyed the bride’s insecurity and longing.”

“Impeccably expressive, with warm high notes naturally imbued with both hope and sadness, the soprano stands out for her excellent vocal projection: she single-handedly elevates the scene in the hospital where Tom Rakewell is moping to a luminous moment of sensitivity rather than complacency…”

“Her pleasant timbre, both enveloping and radiant, fills the hall of the Philharmonie de Paris with a great variety of colours.”

“The glory of this revival was Golda Schultz, here making a belated Royal Opera debut. The South African soprano is blessed with one of the most golden, rich-toned voices of her generation and Fiordiligi was the ideal role for her…Here we had a great singer doing fabulous work and nothing else mattered.”

“The easy opulence of Golda Schultz’s creamy soprano made Fiordiligi sound simultaneously aristocratic and deeply human.”

“Schultz’s voice is a marvel of consistency. She possesses a rich, warm soprano that maintains its color and control across all registers, resulting in effortless and smooth transitions. A good voice acting is also present in the tracks from Così fan tutte, where Schultz portrayal of Fiordiligi manages to project the character’s emotional turmoil with nuanced phrasing and a palpable vulnerability.”

“Schultz and Ware made each song a deeply involving short story. She gives listeners the feeling that each piece of music is being newly discovered as she delivers it, a sense of wonder being transmitted from artist to audience.”

“but it was in her sister Fiordiligi’s sublime Act II aria, Per pietà, even more so in Donna Anna’s envoi, Non mi dir, that Schultz reminded us what a poised Mozartian she is, with her shining lyric soprano and immaculate phrasing.”

“The soprano masters every nuance of the wide range of emotion no less effortlessly in the self-doubting ​‘Per piete, ben mio’ of Fiordiligi from ​‘Cosi’ and in Donna Anna’s aria ​‘Non mi dir, bell’idol mio’ the finale of ​‘Don Giovanni’, which she interprets with emphasis and a bright timbre.”

“[…] and Golda Schultz as the new prioress, gloriously poignant in leading the final, spine-tingling Salve Regina.”

“[…] Golda Schultz’s New Prioress her opposite – warm and almost girlish.”

“One of the production’s standouts is soprano Golda Schultz, who is making her Lyric debut. Expect to see her again. With her fresh, dulcet voice, she poignantly conveys the innocence and steadfastness of Micaëla, drawing one of the most enthusiastic ovations of the night with her moving Act 3 aria, when she tries to pry Don José away from Carmen’s lure.”

“Schultz’s tone had the gentle, silky glow of moonlight, but with a glisten that penetrated, and she gave a sense of both Adina’s independence and her vulnerability.”

“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].”