![Golda Schultz (c) Vittorio Greco](/https/www.harrisonparrott.com/sites/default/files/styles/portrait_small/public/images/2023-09/Golda%20shoot%2010592%20%281%29.jpg?h=b2774bcf&itok=LRepcTW7)
Golda Schultz’s Royal Opera House Debut in Così fan tutte
3/7/2024
Golda Schultz’s long-awaited debut on the stage of the Royal Opera House, Covent Garden has been met with unanimous praise from audiences and critics alike. Read on for the reaction from the press to her portrayal of Fiordiligi so far:
“It’s Golda Schultz’s knockout Fiordiligi who is volatile and passionate — a characterisation that really flies thanks to Schultz’s golden tone and silky phrasing.” — The Times, June 2024
“her soprano, with its fast vibrato, has character in every part of its range and her singing creates a vivid portrayal of Fiordiligi” — Financial Times, June 2024
![Così fan tutte The Royal Opera ©2024 Clive Barda 1](/https/www.harrisonparrott.com/sites/default/files/styles/landscape_small/public/images/2024-07/Cos%C3%AC%20fan%20tutte%20The%20Royal%20Opera%20%C2%A92024%20Clive%20Barda%201.png?h=827069f2&itok=hkN1fWTl)
“The South African soprano sings with softness, delicacy of phrasing and marked musicality, as well as character.” — Connessi all’ Opera, June 2024
“It was Golda Schultz who stole the show as a pure-voiced, believable, eminently Mozartian Fiordiligi, her ‘Per pietà’ a show-stopping highlight, so tender and beautiful.” — Seen and Heard, June 2024
![Così fan tutte The Royal Opera ©2024 Clive Barda 12](/https/www.harrisonparrott.com/sites/default/files/styles/landscape_small/public/images/2024-07/Cos%C3%AC%20fan%20tutte%20The%20Royal%20Opera%20%C2%A92024%20Clive%20Barda%2012.png?h=d9c90c06&itok=eh8WGU8O)
“Hankey’s Dorabella was the ideal hard-edged sparring partner to Schultz’s sweet, agile Fiordiligi. Both provided moments of startling musical beauty – but Schultz’s virtuosic range of facial expressions did almost as much to humanise the opera’s troubling ambivalence.” — The Guardian, June 2024
“Golda Schultz was the clear standout, negotiating effortlessly Fiordiligi’s extensive vocal demands, particularly in “Come scoglio”, with its massive leaps and a range of over two octaves. But it was also in her characterisation as the more complex of the two sisters, ostensibly more faithful but ultimately tormented before finally wavering.” — Bachtrack, June 2024
![Così fan tutte The Royal Opera ©2024 Clive Barda 3](/https/www.harrisonparrott.com/sites/default/files/styles/square_small/public/images/2024-07/Cos%C3%AC%20fan%20tutte%20The%20Royal%20Opera%20%C2%A92024%20Clive%20Barda%203.png?h=076ee064&itok=1qhTXzwe)
Get your tickets here.