"Lovely and girlish onstage, she offered a radiant, sunny lyric sound deployed with seamless legato throughout her range."
"Schultz has risen quickly in the operatic world, hitting all the right notes, to reach new heights of success."
"Golda Schultz made a terrific Met debut as Pamina with her bright voice, artful phrasing and notable stage presence..."
"In the famous aria, “Ach, ich fühl’s,” [Golda's] gathered, creamy soprano spun long phrases of vibrant, acoustically resonant sound."
"...the soprano Golda Schultz, was the true star of “Flute” as Pamina, her voice buoyant yet substantial, creamy but never heavy."
"There is a Sound of Music tour (of course), and Golda Schultz has taken it. She is a fan of musicals. She herself is an opera singer, a young soprano from South Africa. And she is the first guest in our Salzburg Festival Society series — a series of Q&As before an audience. A wonderful, personable, and effervescent guest she is, too. She speaks in a lovely, lilting South African English. This year at the festival, she is appearing in a Mozart opera, La clemenza di Tito.
"South African soprano Golda Schultz as his nemesis, Princess Vitellia, was marvellously revengeful and beguiling."
“Golda Schultz is a wonderful Vitellia who, with her noble, passionate soprano, impressively transforms from vengeful to repentant.”
“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”
“Golda Schultz sang with a silky, glossy soprano as Vitellia”
“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).”
“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”
"A pleasant revelation of the South African soprano Susanna Golda Schultz, holding a polished timbre, very musical and careful diction, subtly sensual and flirtatious; impeccable in the air, "Please come, do not delay, oh beautiful joy," sung sitting inside of a crystal chandelier suspended a few centimeters from the ground."
"Golda Schultz was a jaunty Susanna stage presence and musical. Rather Traditional its characterization in the duets with Figaro and the Count, discreet sensuality in " At last the moment ", gentle playful complicity (this really?) With the Countess in the duet " tune on ". Beyond good musical merits, but we warned her not a perfect fit with the character."
"It was Villa-Lobos’ 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 Danca."
"A top cast includes some notable debuts: the South African soprano Golda Schultz makes a tremendous, honey-toned Countess Almaviva; Italian baritone Davide Luciano is a twinkle-toed, crafty Figaro, while Italian bass Carlo Lepore is a genuinely funny Bartolo."
"Once in a while a singer new to Glyndebourne gets the house tingling. It happened in 2005 with Danielle de Niese, and you know where she is now; she’s Glyndebourne’s chatelaine, pictured in the programme book holding baby Bacchus. 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, splashed with designer Christopher Oram’s Moorish panache and the hot-house silliness of the Swinging Sixties. She also lends a dark vocal lustre and depth of feeling that are immediately showcased in her aria bemoaning the Count’s infidelity. Consonants stay on the fuzzy side, but when so much else is as sharp as a pin you’ll probably roll with the tide."
"And yet 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. As Susanna, Rosa Feola gave a contrasting soprano with real sparkle, particularly good at matching the accenting of her lines to pert, Audrey Hepburn-like facial expressions. Gyula Orendt gave a hilariously sleazy acting performance as the Count, but didn’t really take vocal command of the stage for his big moment, 'Vedrò, mentr'io sospiro.'"
"But it’s the women who are exceptional. It’s hard to imagine finer soprano singing or more exuberant portrayals of Susanna and the Countess than those supplied by Rosa Feola and Golda Schultz respectively, while Natalia Kawalek’s luminous mezzo and acutely observed teenage male mannerisms make her an ideal Cherubino."
“South African soprano Golda Schultz, as Countess Almaviva, has an exquisitely beautiful voice”