Praised internationally for her passionate and technically brilliant performances, South African soprano Golda Schultz has a “clear, pure tone and… a sparkling personality, with a ready sense of humor” (The New York Times). Equally at home in leading operatic roles as she is as featured soloist with the world’s foremost orchestras and conductors, Ms. Schultz is making waves as one of the most exciting new voices on the classical music scene today.
Her 2019-2020 season includes returns to the Metropolitan Opera in its highly anticipated season opening production of Porgy and Bess (Clara), in addition to Der Rosenkavalier (Sophie); the Bayerische Staatsoper for Carmen (Micaela); the Wiener Staatsoper for Turandot (Liu); and the Glyndebourne Festival for Dialogues des Carmélites (Madame Lidoine). Ms. Schultz will make her Carnegie Hall recital debut in Weill Recital Hall with pianist Jonathan Ware, and additionally appears this season with the London Symphony Orchestra in Tippett’s A Child of Our Time led by Alan Gilbert; the Los Angeles Philharmonic in Sibelius’ Luonnotar led by Esa-Pekka Salonen and Beethoven’s Ninth Symphony led by Gustavo Dudamel; the Philharmonia Orchestra in an all-Beethoven program led by Esa-Pekka Salonen; the Philadelphia Orchestra at Saratoga Performing Arts Center in an all-Mozart program led by Yannick Nézet-Séguin; and at the Verbier Festival in Mahler’s Resurrection led by Fabio Luisi.
Ms. Schultz’s recent debuts include critically acclaimed performances at the Metropolitan Opera (Pamina in Die Zauberflöte), at the Bayerische Staatsoper (role debut as Contessa Almaviva in Le nozze di Figaro), at the Salzburger Festspiele (Sophie, Der Rosenkavalier), at the Glyndebourne Festival (Contessa Almaviva, Le nozze di Figaro), at Teatro alla Scala (Susanna, Le nozze di Figaro), at San Francisco Opera (Clara in the West Coast premiere of Jake Heggie’s It’s a Wonderful Life), at the New National Theatre Tokyo in Der Rosenkavalier (Sophie), and at the Staatsoper Hamburg in the world premiere of Beat Furrer’s La bianca notte as the lead female role, Sibilla. Additional performance highlights include appearances with the Vienna State Opera and at the Zurich Opera House in Le nozze di Figaro (Contessa d’Almaviva); with the Salzburger Festspiele in a new production of La clemenza di Tito (Vitellia) by Peter Sellars; with the Metropolitan Opera in Falstaff (Nannetta); with Zurich Opera in Mendelssohn’s Elias; and with the Bayerische Staatsoper in Die Zauberflöte (Pamina), Carmen (Micaëla), La bohème (Musetta), Turandot (Liù), Das Rheingold (Freia), Cosi fan tutte (Fiordiligi), and Parsifal (Klingsors Zaubermädchen).
Her recent concert and recital performances have included a tour with the Mahler Chamber Orchestra under the baton of Gustavo Dudamel to Lisbon, Paris, Frankfurt, Cologne, Barcelona, and Madrid, as well as performances with the BBC Symphony Orchestra at the BBC Proms, the National Symphony Orchestra led by Christoph Eschenbach, The Cleveland Orchestra at both Carnegie Hall and in Cleveland in Haydn’s iconic The Seasons, the Konzerthausorchester Berlin, the Finnish Radio Symphony, the Copenhagen Opera Festival, the Iceland Symphony Orchestra, at the Rheingau Musik Festival, with The Deutsche Kammerphilharmonie Bremen on tour to Japan, at Musikfestival Heidelberger Frühling, and with the Gewandhausorchester Leipzig, in addition to recitals at Wigmore Hall and at the Boulez Saal in Berlin.
Ms. Schultz was a journalism major at Rhodes University in Grahamstown, South Africa when she took her first music elective, spurred from her upbringing by performing arts-loving parents. In the school’s music library, she happened upon a recording of Die Fledermaus featuring soprano Kiri Te Kanawa, followed by an album featuring the legendary Maria Callas. Inspired by these recordings, Ms. Schultz pursued a graduate degree in music at the University of Cape Town, cementing her decision to pursue a career in opera. After two years with Cape Town Opera, Ms. Schultz traveled to the US for the first time to successfully audition for the prestigious Juilliard School. When the head of Juilliard’s vocal program contacted Ms. Schultz in 2011 to let her know someone had dropped out of their audition slot for the Young Artist Program at the Bayerische Staatsoper, she flew to Munich immediately to audition, where they offered her a two-year position on the spot. After her time in Munich’s Opernstudio, Ms. Schultz joined the ensemble of Stadttheater Klagenfurt for one season, where she earned considerable attention in new productions of both Der Rosenkavalier (Sophie) and Giulio Cesare (Cleopatra). She continued as a member of the Bayerische Staatsoper ensemble with roles including Die Zauberflöte (Pamina), Carmen (Micaëla), La bohème (Musetta), Das Rheingold (Freia), Cosi fan tutte (Fiordiligi), and Parsifal (Klingsors Zaubermädchen), and her role debut as Contessa Almaviva in Le nozze di Figaro, among others.