Parisot received excellent reviews for his debut at Town Hall on 30 March 1950. The New York Times wrote, for example:

The excellence of performance, including delicate shadings of color and affinity for Brazilian music that Parisot is known for, is clearly in evidence. Parisot has a very positive attitude towards performing as we can see from the quote that precedes this chapter. Town Hall, with its intimate setting and central location, has traditionally been a focal point for many prominent creative artists, among them classical musicians and jazz artists, as well as poets. His cello must have sounded magnificent in this elegant space with its plush red seats and curtain.

With this recital, he not only furthered his reputation as an outstanding solo performer, but also continued another facet of his professional life—his interest in contemporary music. His performance contained the familiar and the new—as well as the exotic. After playing a Mozart Sonatina and a Beethoven Sonata, he gave the first performance in the U. S. of the Villa-Lobos Fantasia with piano accompaniment. (The Municipal Orchestra of Rio with Villa-Lobos conducting first performed it in Brazil.) On the second half, which included works for chamber orchestra conducted by Eleazar de Carvalho, was another first—the premiere of Yale composer Quincy Porter's Fantasy and Dance, which Parisot had requested, and which was written especially for and dedicated to him.