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American mezzo-soprano Gabrielle Beteag (pronounced Bee-tag) brings a fresh joy and commanding warmth to repertoire spanning Baroque to contemporary works. Praised as a “showstopper” by the San Francisco Chronicle, Beteag’s recent performance in the Merola Grand Finale concert was “a virtuoso display of rhythmic precision and vocal exuberance.”
A graduate of the Adler Fellowship at San Francisco Opera, Gabrielle returns to the company this season to sing Offred’s Mother in The Handmaid’s Tale, and to cover Ulrica in Un ballo in maschera. On the concert stage, she joins the Santa Rosa Symphony for her first Mahler Symphony No. 2, “Resurrection”, which she also sings with the National Orchestral Institute and conductor Marin Alsop. Gabrielle debuts with Music of Remembrance as Gertrude Stein in Tom Cipullo’s After Life, sings Mère Marie in The Dialogues of the Carmelites with Wolf Trap Opera, and reprises her performance of Weill’s Seven Deadly Sins with the Hilton Head Symphony. Next season will include her debut with the Los Angeles Philharmonic.
Ms. Beteag began the 2023-24 season appearing with the San Francisco Opera as Stimme von Oben in Die Frau ohne Schatten, an Image of Frida Kahlo in El último sueño de Frida y Diego, and the Teacher in The (R)evolution of Steve Jobs. She then traveled to Cape Town, South Africa, where she placed as a semifinalist in the 2023 Operalia World Opera Competition. She also sang Mahler's Das Lied von der Erde with the San Francisco Ballet, and, during the summer, she joined Wolf Trap Opera as a Filene Artist, appearing as the mezzo-soprano soloist in Beethoven's 9th Symphony (National Symphony Orchestra), as well as Anna I in Kurt Weill's Seven Deadly Sins.
Inspired by contemporary repertoire, Beteag counts her role creation of Iras in John Adams’ Antony and Cleopatra during San Francisco Opera’s Centennial Season (2022-2023) a career highlight, in addition to performing in the West Coast premiere of Errolyn Wallen’s Roundel. During the same season, she also performed the role of Sœur Gertrude in Dialogues des Carmélites.
Other recent performances Mercédès in Carmen at The Atlanta Opera, where she was a Studio Player, Woman with Hat/Duchess in The Ghosts of Versailles at Chautauqua Opera, and Lady Billows in Albert Herring during her graduate studies at Georgia State University. Additionally, Beteag has covered the following roles: Octavia in Antony and Cleopatra, Mere Jeanne and Sœur Mathilde in Dialogues des Carmélites, Flora in La Traviata (San Francisco Opera); Mrs. Peachum in The Threepenny Opera, and Der Trommler in Der Kaiser von Atlantis (The Atlanta Opera).
March 2020 marked a major career milestone, with Beteag winning The Metropolitan Opera Laffont Competition– just two weeks before the COVID-19 pandemic took hold. She is the 3rd Place Winner of the 2024 Giulio Gari Foundation Competition, a 2025 Grant recipient from the Gerda Lissner Foundation,and was a 2023 Operalia semifinalist.