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 singing actress based in NYC. This summer, she performed the role of Lucia in Rossini’s La gazza ladra as a Resident Artist with Teatro Nuovo and the role of Apollo in Handel’s Terpsicore with the American Bach Soloists Academy. Earlier this season, Ms. Gish saw role and company debuts as The Mother in Menotti’s The Consul (Bronx Opera), The Movie Producer’s Wife in the world premiere of Chesky’s La Farranucci, and Lucretia in Britten’s The Rape of Lucretia (New Camerata Opera), a performance deemed a “knockout” (Reaction, Operawire). Last season, her performance of Lisotta in the American premiere of Salieri’s La cifra was lauded as “hilarious to the nth degree” (Broadway World). In addition to her “knack for comedy” (Oberon’s Grove), Ms. Gish has also received accolades for her dramatic roles, achieving “fresh shades of self-flagellating nuance” (Log Journal) in her “flawless” (Opera News) portrayal of Green Pants in a critically-acclaimed new production of Robert Ashley's DUST and cutting a “stern presence” in her portrayal of Wine Mom in the world premiere of Jarrar/Goodwin’s Tabula Rasa.

Last season saw a number of other role and company debuts: Zita in Gianni Schicchi (City Lyric Opera, formerly ARE Opera), Kathleen O'Fallin in the New York premiere Ricky Ian Gordon’s Morning Star (On Site Opera), Didone in a concert performance of Cavalli’s La Didone (Haymarket Summer Opera Course), and Junon/Melisse in Lully’s Cadmus et Hermione (Amherst Early Music Festival). Previously, she has performed the roles of Giunone and La Natura in Cavalli’s La Calisto (dell’Arte Opera Ensemble), Medoro in Handel's Orlando (Cantanti Project), and covered the role of Alma March in Adamo’s Little Women (The Mannes Opera).

Ms. Gish is also an avid performer of oratorio and art song. This season, she joins Ars Musica as alto soloist in Mozart’s Requiem. Last season, she debuted as soloist with Ars Musica in Rachmaninov's All-Night Vigil and J.S. Bach's Mass in B Minor, with Bourbon Baroque in Handel's Messiah, and made her recital debut at Cornelia Street Cafe. In addition, she was a finalist in the Art Song Preservation Society of New York Mary Trueman Vocal Arts Competition. Previously, as a Marc and Eva Stern Fellow at Songfest, she appeared as soloist in Bach Cantata 161 with conductor, John Harbison, and performed John Musto’s Enough Rope with the composer at the piano. She has appeared as a soloist with Mannes Baroque in Handel’s Mi palpata il cor, Monteclair’s  Pan et Syrinx, Vagaus in Vivaldi's Juditha triumphans (excerpts), Piacere in Handel’s Il trionfo del Tempo (excerpts) Ms. Gish frequently hosts and performs at Groupmuse concerts throughout the NYC area.

A seasoned choral artist, Ms. Gish has sung with the Brick Presbyterian Church Chancel Choir in Manhattan, Face the Music, The Princeton Festival Baroque Chorus, Taylor Festival Choir, The New Amsterdam Opera Chorus, The New Amsterdam Singers, Schola Cantorum on Hudson, and Baton Rouge Early Vocal Ensemble.

Ms. Gish is a recent graduate of the Professional Studies Diploma at Mannes College (2017) and completed her Bachelor of Music at Louisiana State University (2007). In the interim between her music degrees, Ms. Gish completed a masters in communication disorders at Louisiana State University (2010), publishing her master’s thesis “Vocal Warm-Up Practices and Perceptions in Vocalists: A Pilot Survey” in Journal of Voice. She worked as a speech-language pathologist for several years before returning to singing full-time. 

All photos by Michael Kuhn Photography unless otherwise noted.