National Review: Feature

"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.

Operaclick: Le nozze di Figaro at Teatro alla Scala

"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." 

The Times (UK): BBC Proms at Cadogan Hall

"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."

The Times (UK): Le nozze di Figaro at Glyndebourne Festival

"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." 


Bachtrack: Le nozze di Figaro at Glyndebourne Festival

"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.'"