Antoine Tamestit reflects on a much misunderstood work, initially rejected by Niccolò Paganini, and how he learnt to breathe life into the role of Byron's "Childe Harold".
Violist Antoine Tamestit didn’t seem like much a soloist at the opening of Berlioz’s Harold in Italy on Tuesday night, in Valery Gergiev and the London Symphony Orchestra’s second performance of this programme at the Barbican. His viola lolling casually at his side, Tamestit gazed pleasantly at the orchestra, nodding along with them from time to time.
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