At Posilippo he gave a concert in a theatre belonging to impresario Domenico Barbaja, the second part of which comprised a burlesque on Othello, Lablache taking the part of Brabantio; Calvarola, the Liston of Naples, playing the Moor; and Parry as Desdemona, dressed à la Madame Vestris, and singing Cherry Ripe.

On 28 May 1835 he performed in a state room at St James's Palace for King William IV, Queen Adelaide and other members of the royal family.

In July 1836 he gave his first benefit concert at the Hanover Square Rooms, when Malibran sang for him, and he joined her in Mazzinghi's duet When a little farm we keep.

[1] In 1842 he forsook the stage for the concert-room, and was singing, with Anna Thillon and Josef Staudigl, in pieces written expressly for him by Albert Smith.

[3] Parry afterwards accompanied Camillo Sivori, Franz Liszt, Sigismund Thalberg, and others in a concert tour through the United Kingdom, and his powers as a pianist and his originality as a buffo vocalist were widely recognised.

In 1849 Albert Smith wrote an entertainment entitled Notes Vocal and Instrumental, which Parry produced on 25 June 1850 at the Store Street Music Hall, Bedford Square, London, and illustrated with large water-colour paintings executed by himself.

Here he performed for nearly nine years, presenting a series of droll impersonations and musical monologues that inspired other comedians, including George Grossmith.

The following were printed: Wanted, a Governess (1840), Fair Daphne (1840), Anticipations of Switzerland (1842), The Accomplished Young Lady (1843), My déjeuner à la Fourchette (1844), The Polka explained (1844), Fayre Rosamond (1844), Matrimony (1845), Young England (1845), Miss Harriet and her Governess (1847), The Flying Dutchman (1848), Coralie (1853), Charming Chloe Cole (1854), Oh, send me not away from home (1854), Little Mary of the Dee (1855), In lonely bow'r bemoans the turtle dove (1855), The Tyrolese Fortune-teller (1867), Bridal Bells (1868), Cupid's Flight (1868), Don't be too particular (1868), Take a bumper and try (1874), and The Musical Wife (1878).

Parry's artwork Cross-Readings at Charing Cross shows the National Gallery under construction, surrounded by a fence plastered with posters.

The title of the work is pun intended to draw attention to the words of the posters, which, when read together, form new and humorous meanings.