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American mezzo Gabrielle Beteag (pronounced Bee-tag) brings a fresh joy and commanding warmth to repertoire spanning Baroque to contemporary works. Praised for her “precise, soaring voice” by San Francisco Classical Voice, Beteag’s recent performance in the San Francisco Adler Fellow Showcase was “a peak performance at the opera…a moment of transfiguration.” 

The start of 2024 took Beteag back to the Bay Area to sing Mahler's Das Lied von der Erde with the San Francisco Ballet. This summer, she will be in residence as a Filene Artist at Wolf Trap Opera, where she will sing Anna I in Weill's Seven Deadly Sins and serve as the Alto Soloist in Beethoven's Ninth Symphony. She then returns to San Francisco Opera for their 102nd season, covering Ulrica in Un ballo in maschera and singing Offred's Mother in The Handmaid's Tale, before finishing the year singing Mahler's Second Symphony with the Santa Rosa Symphony.


Endlessly inspired by the challenges inherent in developing new work, Beteag counts her role creation of Iras in John Adams’ Antony and Cleopatra during SFO’s Centennial Season as a career highlight. Other recent performances include Stimme von Oben in Die Frau ohne Schatten and Teacher in The (R)evolution of Steve Jobs at San Francisco Opera, Mercédès in Carmen at The Atlanta Opera, where she was a Studio Player, and Woman with Hat/Duchess in The Ghosts of Versailles at Chautauqua Opera.


In 2020, Beteag fulfilled a long-held dream of winning the Metropolitan Opera National Council Auditions . She has received accolades from several other competitions, including Operalia (Semifinalist, 2023) and the Cooper-Bing Competition at Opera Columbus (First Place, 2023).


During the COVID-19 shutdown, Beteag created the Songbook Sundays series, through which she shared her renditions of Golden Era jazz standards on social media, accompanying herself on the ukulele.


While offstage, Beteag enjoys watching films with her husband, Tim, and receiving the best vocal coaching around from their hound dog, Hambone.

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