Mahler’s Symphony No. 2, “Resurrection” unfolds in one great, uninterrupted arc, building from a dramatic opening to an ending with soloists, Alisa Jordheim and Gabby Beteag, and chorus!
Program
Alastair Willis, conductor
Alisa Jordheim, soprano
Gabby Beteag, mezzo
GUSTAV MAHLER
Symphony No. 2
Calendar for Mahler’s Symphony No. 2
Coming soon!
Photo by Fay Fox
Described as “vocally resplendent,” “powerful,” and possessing “impeccable coloratura” (San Francisco Chronicle), versatile soprano Alisa Jordheim is praised for her compelling and vocally assured performances in opera, concert, musical theatre, new music, early music, and recital. Ms. Jordheim’s recent portrayal of Soeur Constance in Dialogues des Carmélites at the Caramoor International Music Festival was met with great acclaim: Sister Constance was “beautifully taken here by the sweet-voiced, endearing soprano Alisa Jordheim” (The New York Times) and “winningly performed by Alisa Jordheim in a soprano of surprising depth and color” (Musical America). Of her recent triumph as Gilda in Rigoletto with San Diego Opera, the San Diego Union-Tribune writes: “Soprano Alisa Jordheim makes an astonishing role and company debut as Gilda. Despite her petite size, she has a huge crystalline voice that she effortlessly pirouettes through perfect coloratura acrobatic and piercing high notes.” Ms. Jordheim was recently named an outstanding young singer to watch in “40 under 40: A New Generation of Superb Opera Singers,” an article curated by Operavor and WQXR New York Public Radio.
In the 2025-2026 season, Ms. Jordheim makes her role debut as Liù in Turandot in a return to the Pacific Symphony, and also sings concerts with the New York Opera Society, Cincinnati Song Initiative, New Philharmonic, Present Music, and Milwaukee Musaik. Last season, Ms. Jordheim made several exciting role debuts, including Violetta in La Traviata with Opera Western Reserve, Adina in L’elisir d’amore with the New Philharmonic, La Fée in Cendrillon with Opera Orlando, Daria/Prima Donna in Donizetti’s Viva la Mamma with Florentine Opera, and the Young Girl in Cipullo’s After Life with Music of Remembrance in Seattle and San Francisco, in addition to joining San Francisco Opera to cover Oscar in Un ballo in maschera and Janine/Ofwarren in The Handmaid’s Tale. She also performed Carmina Burana with both the Pacific Symphony and Evansville Philharmonic, holiday concerts with San Diego Opera and the Spreckels Organ Society, and an “Iconic Broadway” concert with the Northwest Indiana Symphony.
Photo by Lola Scott
American mezzo Gabrielle Beteag brings a fresh joy and commanding warmth to stages across the United States and beyond. Endlessly inspired by the challenges inherent in developing new works, Beteag counts her role creation of Iras in John Adams’ Antony and Cleopatra during San Francisco Opera’s Centennial Season as a career highlight. Other recent performances at SFO include Mother in The Handmaid’s Tale, Teacher in The (R)evolution of Steve Jobs, Stimme von oben in Die Frau ohne Schatten, and an Image of Frida Kahlo in El último sueño de Frida y Diego. Beteag was also recently seen as Gertrude Stein in Tom Cipullo’s After Life with Music of Remembrance and Anna I in Kurt Weill’s Seven Deadly Sins with the Hilton Head Symphony Orchestra.
A lover of concert work, Beteag has collaborated with ensembles including the Cabrillo Festival Orchestra, the National Symphony
Orchestra, the Santa Rosa Symphony, the San Francisco Ballet, and the National Orchestral Institute + Festival, where she sang Mahler’s Resurrection Symphony under Marin Alsop’s baton.
Beteag, achieving a lifelong dream, was named a Grand Finals Winner of the Metropolitan Opera National Council Auditions (now the Laffont Competition) in 2020. Other industry accolades include prizes from the Gerda Lissner Foundation (Grant Winner, 2025), the Paris Opera Competition (Finalist, 2025), the Giulio Gari Foundation (Third Place, 2024), Operalia (Semifinalist, 2023), the Cooper-Bing Competition at Opera Columbus (First Place, 2023), and the Shreveport Opera Mary Jacobs Singer of the Year Competition (Second Place, 2020).
Beteag’s 2026 season includes concerts with the Roswell Music Club and Lieder Alive!, a house debut at Opera Roanoke, and returns to the Santa Rosa Symphony and San Francisco Opera.
While offstage, Beteag enjoys spending time with her husband, Tim, and receiving the best vocal coaching around from their hound dogs, Hambone and Persephone.
The Jack M. Champaigne Masterworks Series is proudly sponsored by
