"Schultz’s golden soprano radiated in 'Summertime,' every phrase smoothly connected and a simply joy to luxuriate in. Her final reprisal was the polar opposite, the voice poured out its limits with accentuated phrases that expressed Clara’s sense of pain and loss."
"The opera has the advantage of capturing the listener by opening with one of the greatest American songs, 'Summertime,' sung with crystalline grace and beauty by Schultz as Clara."
“The other big scene stealer was soprano Golda Schultz whose star is rising and will likely shine brightly for years to come. The South African soprano’s voice is angelic, every line effortlessly placed, her intonation impeccable.”
“Schultz’s supple soprano ranged from liquid, gorgeously placed high notes to a creamy midrange that soothed with its plushness.”
"Powerful soprano Golda Schultz literally and figuratively soared..."
"South African soprano Golda Schultz was absolutely charming in the role, with her infectious smile and animated facial expressions. And she possesses an appropriately angelic voice, releasing twinkling cascades of coloratura from atop her rope swing as she counted the prayers of Bedford Falls."
“Above all the splendid Golda Schultz (Countess), makes a brilliant debut at the State Opera. [She is] strong and energetic not only when it comes to her voice but also her demeanor, and yet solid in the overall effect.”
"the enchanting soprano Golda Schultz"
"Golda Schultz’s fine voice floated beautifully and eloquently into the vast auditorium."
"Golda Schultz's voice impresses instantaneously. Big, clear, technically stupendously perfect. She warms up with Mozart followed by four Schubert songs, of which the last stanza of Rosamunde's romance works out stunningly."
"Ms. Schultz, a favorite of Mr. Welser-Möst, sang with clear, pure tone and conveyed a sparkling personality, with a ready sense of humor..."
"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..."
"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. Always lively, occasionally hardening to achieve a more penetrating quality, 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 in Wednesday’s performance, delicately and precisely crafting her phrases..."
"Soprano Golda Schultz was frankly perfect in her recitatives and arias. Her voice is creamy and smooth, with a brilliant finish and expert control.... Schultz could not have been better."
"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.