Thirty Men & a Girl

by Elisabeth Parry

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Wigmore Hall, London. March 1947

“Elisabeth Parry, a soprano of much promise, performed arias by Bellini and Verdi.”

Scott Godard. News Chronicle

 

Glyndebourne, 1947, The Rape of Lucretia

“Elisabeth Parry, coming late to the role of Lucia, was stiff on the stage, but not in her high-lying vocal line, which she sang prettily in a voice not unlike Miss Margaret Ritchie, who had the part last year.”

The Times

 

“…Lucretia’s women, Flora Nielsen and Elisabeth Parry, sang their delicate and difficult music well.”

The Manchester Guardian

 

The English Opera Group. Autumn 1947

“Miss Elisabeth Parry, a young singer with a Welsh background…has her feet firmly planted on the first rungs of the ladder to fame. A soprano, her voice has already something more than promise, and it is likely that in the near future she will be received with great acclaim…her voice, pure and rich, held us spellbound.”

Northern Echo

 

 

Some Italian and Other Press. 1950 Onwards

“The young singer opened her programme with a group of English songs of the 17th and 18th centuries, executed with admirable grace and refined style; a true model of graceful singing which recalled to us with nostalgia the most noble traditions of our own bel canto, so often neglected, particularly amongst ourselves…”

Borselli. Corriere del Popolo

 

Genoa. The Parry Concert at the Italo-Britannic Association, Palazzo Durazzo

“…The programme was of the greatest interest, presenting a wide selection of English songs, extending from the brilliant period of Purcell and Arne to the romanticism of Quilter and Armstrong Gibbs. It also included a short series of traditional English, Irish and Scottish songs….  Elisabeth Parry attacked this arduous interpretative task with secure ability and a pure and convincing musicianship. Gifted with a voice of extremely sweet timbre and a technique which allows her to bend it with inimitable grace to all the exigencies of the lyric genre, she gave a display of great versatility and rare good taste, knowing how to change the accent of her expression from the linear plasticity of the classics to the more free and nostalgic poetic vein of the romantics, and achieving supreme moments, especially in the traditional songs…”

Capocaccia. Il Corriere Mercantile

 

 

 

 

 

 

Home Press

“…A young soprano with a pleasing voice that is both pure and rich in quality.”

The Times

 

“…A fresh and agreeable voice which gave evidence of careful training, definite ideas of interpretation, and a pleasing platform manner. The Mozart section was dominated by the Masonic Cantata, a notable work, rarely to be heard, which was finely sung.”

The Scotsman

 

“…Miss Elisabeth Parry, who broadcast a recital of songs by Debussy yesterday evening, has been widely acclaimed for the purity and richness in quality of her voice.”

Western Mail

 

“…in particular Constanze (Elisabeth Parry) managed her two very difficult arias, which come almost on top of one another, with extraordinary success.”

Rathcol. The Belfast Telegraph

 

Rossini’s Stabat Mater. Birmingham

“…It was thrillingly well done. All four voice parts held firmly and fervently. In view of the fact that the solo parts were originally written for Grisi, Tamburini and Co, they were astonishingly well tackled…Miss Parry and Miss Hughes blended sweetly and tenderly in ‘Quis est Homo’, and Miss Parry’s top Cs were as safe as houses in the great ‘Inflammatus’.

J F Waterhouse. Birmingham Post

 

Music in Miniature

“…Elisabeth Parry sang two groups of songs, including Mozart’s triumphant ‘Alleluia’ and Strauss’s delicate ‘Serenade’. Her voice was a joy, full, round, flexible and beautifully controlled. She achieved some exquisite pianissimi in Mozart’s tender ‘Cradle Song’, and made the technical difficulties of Schubert’s ‘Shepherd on the Rock’ seem negligible”.

Folkestone Herald

 

“…In her groups of songs Elisabeth Parry revealed a fine voice. She sang with artistry and finish throughout.”

Western Mail

 

 

 

 

 

 

Siena Concert

“The English soprano Elisabeth Parry sang with a beautiful voice (especially the high notes) and with a very fine style, early English songs, and a big aria from Mozart’s Die Entfuhrung aus dem Serail, brilliantly overcoming all the technical difficulties, and displaying a rare vocal virtuosity.”

Il Mattino

 

 

 

Don Pasquale. Festival Opera Company. Arts Theatre. Cambridge

“…Possessor of a superbly and beautifully produced soprano voice is Elisabeth Parry, who as Norina the masquerading widow entered spiritedly into the fun of the thing.”

 

“Elisabeth Parry’s lovely voice, grace and good looks, charmed everyone…. Truly delightful singing, clear diction, and the polished mannered acting which is an essential ingredient of operas of this sort.”

 

The Barber of Seville. Rossini

“…Elisabeth Parry gave an excellent presentation of Rosina. She looks well, and her singing ability is equal to the exacting demands of her role.”

Eastern Daily Press

 

“…Elisabeth Parry was a golden-toned Rosina whose looks were as charming as her sweet soprano voice.”

Surrey Mirror

 

“…Elisabeth Parry as Rosina held the audience breathless on several occasions with her magnificent voice, notably in the singing lesson scene.”

Lincolnshire Free Press