Praised for her “full-flavored mezzo,” (Parterre Box), “substantial instrument and stage presence” (Voce di Meche) and “plushy instrument of vast range” (Oberon’s Grove), Allison Gish is a mezzo-soprano based in NYC. Recent roles include Apollo in Handel's Terpiscore (American Bach Soloists Academy), Lucia in La gazza ladra (Teatro Nuovo), The Mother in The Consul (Bronx Opera), Lisotta in Salieri's La cifra (dell'Arte Opera Ensemble), Giunone in Cavalli's La Calisto (dell'Arte Opera Ensemble) and Lucretia in Britten’s The Rape of Lucretia (New Camerata Opera), a performance deemed a “knockout” (Reaction, Operawire). Allison has been alto soloist in Bach's Mass in B Minor (American Bach Soloists Academy, Ars Musica), Mozart's Requiem (Ars Musica), Handel’s Messiah (Bourbon Baroque), as well as numerous solo cantatas. Last season, she created the roles of Leonora Goosling in Felix Jarrar's Mother Goose, Athena in Kaley Lane Eaton's Psychographics, and was in final rehearsals for Only Remains Remain, an experimental piece by Freya Powell set to premiere at MoMAPs1 and The Green-Wood Cemetery. After the pandemic put a stop to that, Allison sang in the inaugural season of Social Distance Opera (an initiative of BARN Opera) as La Frugola in Puccini’s Il tabarro. She joined the Ocean Grove Camp Meeting Association this summer for her first season as mezzo-soprano soloist and alto section leader. During the pandemic, Allison has kept busy by performing in virtual song salons, recreating famous paintings on Instagram, and subtitling operas for virtual watch parties.