"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.
"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."