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.'" 


Seen and Heard International: Der Rosenkavalier at Bayerische Staatsoper

"Golda Schultz in the part of Sophie was a very pleasant surprise. This South African soprano studied at the Juilliard School in New York and has sung a few times in Munich in the past two years. She was the best of the entire cast, with a lovely voice and more body than what is usual in these characters. She has no problems reaching the audience and is a superb singer. I think we will hear much more from her. 

Martin Gantner was well-suited to the role of Faninal, and Yosep Kang did a good job with the difficult aria of the Italian Singer.The other characters were, without exception, well-covered. 

Again, the Nationaltheater was sold out. The biggest ovations were for Golda Schultz and Peter Rose, in that order."



“A new ensemble member, Golda Schultz gave for me the most beautiful performance. An unusually dark-timbred Sophie, she charmed not only with impeccable high notes but also showed great stage presence and provided an authentic, rounded portrayal. Without doubt a lucky find for Klagenfurt and one can look forward to her Cleopatra in Giulio Cesare and Princess in Die liebe zu den drei orangen.”