David Parry is represented by Rayfield Allied worldwide.

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David Parry

Conductor

  • David Parry conducts with energy and elegance
    Robert Thicknesse, The Times
  • the musical performance under David Parry sweeps more or less everything before it
    Andrew Clements, The Guardian
  • David Parry conducted with exemplary sense of style
    Michael Kennedy, Sunday Telegraph
  • David Parry is acknowledged as an inspirational champion of operatic, concert and symphonic repertoire across a vast range. He is known both for the re-appraisal of important lesser-known compositions and for a consistently fresh approach to established repertoire.

    Significant credits include the world premiere of Jonathan Dove’s The Adventures of Pinocchio (in separate productions for Opera North and Staatstheater Stuttgart), Der Fliegender Holländer (for Portland Opera), Madama Butterfly (in Anthony Minghella’s production for ENO which earned him an Olivier Award), Così fan tutte and the premiere of Dove’s Flight (both for Glyndebourne Festival Opera) and Maria Stuarda (for Stockholm Royal Opera).

    Much in demand from ensembles both in the UK and further afield, David Parry is regularly at the helm of orchestras including the London Philharmonic, Philharmonia, Royal Philharmonic, City of Birmingham, Halle, Academy of St Martin in the Fields and English Chamber Orchestra.

    He has an extensive discography for Chandos and Opera Rara. His recording of Rossini Ermione won a Gramophone Award for best opera 2011.

    • L’italiana in Algeri
      Garsington Opera (June 2016)

      Yet the wit in this show comes from the pit, where David Parry conducts a brisk, Mozartian interpretation with outstanding clarinet, flute and horn solos.
      Anna Picard, The Times
      At Garsington, the score is crisply and briskly conducted by David Parry.
      Rupert Christiansen, The Telegraph
      Parry nicely judges the score’s mix of lyricism and hard-edged wit. And that great first act finale is clockwork in its precision.
      Tim Ashley, The Guardian
      This is David Parry’s tenth Rossini opera for Garsington, and it shows in an assured musical performance that’s full of sparks and sparkle ... Parry makes the most of the grace and the deft touches in the score: the oboe phrases, the horn calls and the many delicate pizzicato string interludes all come through with grace.
      David Carlin, bachtrack
      David Parry, conducting his 12th Rossini production for Glyndebourne, drew tight discipline from the Garsington instrumentalists. The tautness of the pianissimos was striking, and the overture (the opera’s best music) was enlivened by surprising sforzandos. The woodwind relished their concertante roles in the drama and flute, oboe, bassoon and horn each enhanced the dramatic characterisation.
      Claire Seymour, Opera Today
      [Will Tuckett’s production] struck exactly the right note, amplifying Rossini’s dramatic and emotional intensity. As did the orchestra, conducted by David Parry, who has championed the composer’s unique style of playing at Garsington since 2002.
      Bucks Free Press
      Garsington's long-running relationship with the bel canto specialist and the conductor David Parry continues to earn dividends with crisp playing from Garsington's orchestra.
      George Smart, Harpers Bazaar
      David Parry conducts a clean, brisk interpretation.
      Alexandra Coghlan, The Spectator
      Garsington has a handy knack for Rossini, and under conductor David Parry the orchestra has learned how to play this stuff with as much finesse and style as any band in the country. This performance ... was a pretty lovely example of how to perform this passingly elegant, refined, sophisticated, beautiful and highly entertaining score, full of delicacy and detail, wit and sprung rhythms. ... I took to watching Parry’s expressive and dramatic conducting...
      Robert Thicknesse, The Critics Circle
    • Kemal Yusuf: Cain (world premiere) / César Franck: Symphony in D minonr
      Bournemouth Symphony Orchestra (May 2016)

      ... the whole [of Yusuf's work] coming together splendidly under the masterful conducting of David Parry. ... To end, a splendid performance of Franck’s D minor symphony, with a reading by conductor David Parry that was strong and vital, without any trace of self-indulgence, and to which the orchestra responded magnificently in all departments...
      Frank Cliff, Eastern Daily Press
    • L’oca del Cairo
      London Mozart Players (April 2016)

      David Parry conducted [the soloists] and the London Mozart Players with tremendous flair, and both the light of Mozart and the shade of Stephen Oliver were honoured.
      Rupert Christiansen, The Telegraph ****
      Under the baton of David Parry, the orchestra delivered handsomely.
      Sam Smith, musicOMH ****
      David Parry’s conducting brought out the best from his orchestra, catching the many moods and coours of Oliver’s operatic curiosity.
      Alexandra Coghlan, Opera Magazine
    • Ermione
      Volkstheater Rostock (March 2016)

      Under the direction of bel canto expert David Parry, the Norddeutsche Philharmonie Rostock presents an agile, appropriately light "Rossini sound". In the unusual overture ... he keeps string and wind players attentive throughout, making sure they keep the right balance and, carefully listening, respond to each other. You can tell Parry ... has intimate knowledge of Ermione. He gently keeps the [orchestra] on track where they are at danger of getting lost in the tiny details [of the work] ... and shows a passion for detail and an intuition for the calm, lyrical moments.
      Werner Häußner, Der Neue Merker
      [Parry] knows this style, he loves this music, and he guides the Norddeutsche Philharmonie, the Volkstheater's chorus and the Singakademie with a steady hand. He paid particular attention to bringing out the musical nuances of the instrumental parts. ... Parry accompanied [the singers] with care ... begleitete umsichtig, aber den Ensembles fehlte es an Transparenz, und man vermisste das spasmodische Vorwärtsdrängen, das einige Stellen dieser Oper, vorwiegend im zweiten Akt, auszeichnet. ... Thankfully this is a conductor who does not confuse tragedy with the Grand Guignol, unlike so many other HIP specialists conducting Rossini.
      Michele C. Ferrari, Opera Lounge
    • Carmen
      Scottish Opera (October 2015)

      David Parry conducts a chunky, pert-sounding orchestra. Contours are well defined, tempos are sturdy, all the big tunes are as clearly signposted as the thick red brush strokes that adorn the stage curtain.
      Kate Molleson, The Guardian
      The orchestra plays like a dream under conductor David Parry – light, lithe, punchy and powerful.
      David Kettle, The Scotsman
      With the Orchestra of Scottish Opera under David Parry playing the familiar overture in a light, swift and breezily theatrical fashion, the narrative flow of the tragic tale of love, fate and duty could hardly be bettered.
      Keith Bruce, The Herald Scotland
    • The Pirates of Penzance
      English National Opera (May 2015)

      Using the pit-sized orchestra that Sullivan would have wanted, David Parry conducts the score beautifully.
      Rupert Christiansen, The Telegraph
      David Parry’s conducting does what it can with what there is – the orchestra plays superbly for him – and the cast is a good one.
      Andrew Clements, The Guardian
      Conductor David Parry’s zippy tempi do the biz.
      Michael Church, The Independent
      The overture to Pirates, deftly played by the ENO orchestra under the baton of David Parry.
      Fiona Maddocks, The Observer
      It’s certainly a delight to hear the ENO orchestra coaxed into full-moustachioed Victorian splendour by David Parry (who catches every sideways glance, every knowing musical wink on the page), giving Sullivan’s dexterous scoring its due.
      Alexandra Coghlan, The Spectator
      David Parry also does wonders with the orchestra, reminding us just how subtle Sullivan’s textures can be.
      Barry Millington, Evening Standard
      David Parry kept things buoyant in the pit, the orchestra responding with a spirited account of Sullivan’s frothy score.
      Mark Pullinger, bachtrack.com
      The ENO orchestra shone. The Overture was no pot-pourri of tunes to be dispensed with, but a miniature tone-poem. It became so because of David Parry’s obvious intent to underline Sullivan’s inherent lyricism. It was obvious he cares for this music deeply, just, indeed, as the audience clearly does.
      Colin Clarke, Seen and Heard International
      Down in the pit, David Parry captures the ingenious orchestration and the loving spoofs of everything from Handel to Wagner, so not just the bel canto repertoire he knows so well, with the perfect mixture of élan and subtlety, guiding the best of choruses and a very classy line-up of soloists into fresh and nuanced takes on the score.
      David Nice, theartsdesk.com
      In the overture alone David Parry, one of the UK's most scandalously undervalued conductors, finds a fleck of emphasis here, a line of nuance there, that sets the tone for an evening of plush, upholstered delight.
      Mark Valencia, whatsonstage.com
    • Madama Butterfly
      Perth International Arts Festival (February 2015)

      Conductor David Parry… drew a well-blended, grandly symphonic sound from the West Australian Symphony Orchestra. There were passages of great beauty.
      Victoria Laurie, The Australian
    • Vert-Vert
      Garsington Opera (June 2014)

      It’s seldom that I’ve witnessed an operetta by Offenbach as well performed as this – the British première of the complete version of Vert-Vert, a piece dating from 1869 about amorous fiddle-faddle at a girls’ school. It could scarcely be done better… Hats off to David Parry, the crisp and rigorous conductor of a full-blooded orchestra, who has provided an amusing and idiomatic translation… It’s all good clean fun and, refreshingly, not heavy-handed or vulgar.
      Rupert Christiansen, The Telegraph ***
      …the Offenbach operetta which conductor David Parry has exhumed for Garsington is a delightful discovery.
      Michael Church, The Independent ****
      Parry’s new English translation is less elegant than his conducting of the score, though at times its gawkiness nicely counterpoints Offenbach’s always quirky musical invention, excellently realised by the Garsington Opera orchestra.
      Hilary Finch, The Times ***
      David Parry drew brighter sound from the orchestra than on his recording, and infected everyone with his love of the music. As an unashamed Offenbach freak I am not exactly unbiased, but this was one of the happiest evenings I have spent at the opera for years.
      Rodney Milnes, Opera Magazine
    • Elgar Symphony No.2
      Freiburg Philharmonic (March 2014)

      It was to the credit of the impressively moving interpretation of the Freiburg Philharmonic under its guest conductor David Parry that so many insights into the ground between these poles were revealed. It goes without saying that the British Parry has a special sensibility for the background of this music at the turning point; nevertheless the way he realised this through the Philharmonic Orchestra in a sold-out concert hall cannot be too highly praised. The heterogeneity of this composition could not be better, more sensitively and in turn sonically more luxuriantly captured. Its Bacchanalian, Apollonian spirit …. found its perfect echo in the excellent, brilliant strings. The masterly wind section deserved the highest praise too: here the majestically steely brass, there the wonderfully sensitive woodwind, which in the slow movement … achieved an incomparably beautiful pianissimo. The Presto developed such expressivity that a ripple of spontaneous applause broke out, and the conductor and musicians clearly delighted in this breaking of the rigid nineteenth-century concert situation.
      Badische Zeitung
    • Maometto II
      Garsington Opera (June 2013)

      David Parry was on top form in the pit, bringing just the right vigour to the martial episodes and, showing his long experience in Rossini, shading the gentler scenes with unaffected naturalness.
      Rodney Milnes, Opera Magazine
      David Parry’s conducting is exemplary: scarcely an ensemble lapse in three hours.
      Richard Morrison, The Times
      The conductor David Parry lays the groundwork, generating sounds from the pit that underline not only how brilliantly orchestrated the piece is, but also how powerful Rossini can be when kept on a tight rein.
      Andrew Clark, The Financial Times *****
      Maometto Secondo is Garsington’s 12th Rossini opera, an astonishing record. They have been regularly conducted by David Parry, a specialist of the period who upholds his high standard, presiding over strong contributions from Garsington’s chorus of young singers and its own orchestra.
      George Loomis, The New York Times
    • Mikado
      English National Opera

      Things get off to a good start with conductor David Parry’s punctilious account of the overture; bolstered by his vital handling of the score throughout, the pace never really lets up.
      George Hall, The Guardian *****
      ...fine orchestral playing and light, springing pacing of David Parry’s baton.
      Hilary Finch, The Times
      …there was fine conducting from David Parry – elegant, nicely detailed and quietly reminding us that Sullivan’s orchestration is often more subtle and effective than we may assume. An outstanding revival of a great show.
      Tim Ashley, Opera Magazine
    • Rossini Ermione
      London Philharmonic Orchestra

      Conducted with insistent tenacity and considerable force by David Parry, it captured much of the work's rage and neurotic ferocity
      Tim Ashley, Guardian
      David Parry conducted the LPO and the Geoffrey Mitchell Choir with a noisy ebullience that was determined to raise the roof
      Richard Fairman, Financial Times
  • David Parry’s Repertoire and Discography

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