Students from all over the world seek out Parisot as an extraordinary master teacher. During the eighties and beyond, Parisot became more and more involved with numerous festivals, master classes, and competitions, continuing his work around the globe, trying to give back the many opportunities that had been given to him. He was an honored guest at various conservatories, giving master classes and performing with cello ensemble. From Banff to Beauvais, France, to Jerusalem, to students in Shanghai, and the Great Mountains in Korea, he has sought to identify and solve problems of performance and interpretation and give the student the benefit of a fresh and experienced assessment of their playing. His approach is detailed, flexible, extremely well thought out and based on decades of experience, filled with musical information, and sometimes astonishing in understanding of the cello.

A picture of Parisot as a teacher with superb skills, both musical and psychological, emerges from my interviews with some of those fortunate to have studied with him. Many recognize his ability to understand his students, to pinpoint problems, to offer solutions, and also to encourage the student to find his or her own solutions. He challenged them to find many ways of interpreting the same piece. His teaching was all the more valuable because of his experience as a performer. “I teach not just how to play the cello but how to be a performer. You have to communicate with the public. The cello is secondary. The cello does not exist when you are on stage. You are like a speaker, a great speaker.” (See Appendix Three for these interviews).

The Parisots’ activities extended to humanitarian causes: in January 2000, Aldo and Elizabeth Parisot, Erick Friedman, and Kenneth Kuo went on a tour in Taiwan to raise money to aid recovery from a devastating earthquake in September of the previous year.