It’s fair to say that Golda Schultz has been pretty busy in 2019 and she rounds out a quite remarkable year with a return to the Metropolitan Opera this week as Sophie in Robert Carsen’s beautiful production of Der Rosenkavalier under the baton of Sir Simon Rattle.
Her year highlights include a marathon debut with the Los Angeles Philharmonic Orchestra singing on three consecutive nights in Mahler, Symphony No.2 under Zubin Mehta, Sibelius, Luonnotar under Esa-Pekka Salonen and Beethoven, Symphony No 9 under Gustavo Dudamel. Mahler, Symphony No.2 featured again at the Verbier Festival under Fabio Luisi and with the Finnish Radio Symphony Orchestra under Hannu Lintu not to mention a standout performance alongside Kirill Petrenko to a vast audience at Bayersiches Staatsoper’s annual ‘Oper fϋr alle’ event and her debut with the Philadelphia Orchestra, performing Mozart’s Requiem under Yannick Nézet-Séguin.
In June, Schultz and her recital partner Jonathan Ware gave a highly acclaimed programme of Schubert songs at Berlin’s Pierre Boulez Saal and they joined forces again in November for their Carnegie Hall recital debut as part of the ‘Great Singers III: Evenings of Song’ series.
The Metropolitan Opera has been a second home to Golda Schultz this year with Der Rosenkavalier being her third appearance on that stage preceded by her standout appearance as Nanetta in Verdi’s Falstaff in the spring and her season opening portrayal as Clara in a sold-out run of Gershwin’s Porgy and Bess thankfully still leaving time for her European fans to catch her as Countess Almaviva in Le Nozze di Figaro at Opernhaus Zurich, and as Liu in Puccini’s Turandot at Bayerische Staatsoper.
Roll on 2020, another year packed full of exciting new projects includes debuts with the London Symphony Orchestra in Tippett’s A Child of Our Time under Alan Gilbert and with the Philharmonia Orchestra in an all-Beethoven programme under Esa-Pekka Salonen, returns to Wiener Staatsoper, Bayerische Staatsoper and the Glyndebourne Festival as Madame Lidoine in Barrie Kosky’s new production of Dialogues des Carmélites.