MILOŠ

Guitar

Managed in association with Enticott Music Management

Biography

“Love at first listen” is how Miloš describes the moment when, as a child in Montenegro, he first picked up the old guitar that was lying around his childhood home gathering dust. Montenegro in the early 1990s was not an obvious gateway to future classical success, hence his family were cautiously supportive when, aged 14, Miloš decided to go to a specialist music school rather than a grammar school. Leaving the Balkans and arriving in London to take up a coveted place at the prestigious Royal Academy of Music was, he says, “a bit like going to Mars. I was clueless.”

Fast forward to 2010, Miloš signed his first record deal with the classical label Deutsche Grammophon and before long, he was performing sell out concerts as a soloist with international orchestras and in recitals. He appeared in some of the most important concert halls and at major festivals around the world, while continuously topping music charts with his best-selling recordings.  One of the highlights of that period was his solo guitar recital at the Royal Albert Hall to a full house, which was the first of its kind and much lauded by the critics.

Miloš’ early albums, ‘Mediterraneo’ and ‘Latino’, were hugely successful, while his 2014 recording of Rodrigo’s concertos with the London Philharmonic and Yannick Nezet-Seguin had the Sunday Times calling him “The King of Aranjuez”. His 2016 record, ‘Blackbird – The Beatles Album’, which included duets with Gregory Porter, Tori Amos, Steven Isserlis and Anoushka Shankar, was received with unanimous acclaim.

However, his career was almost dramatically cut short when, at his peak, he was struck down by a hand injury which left him unable to play. With a new record in development and a major international concert tour already booked for the 2017-18 season, Miloš was forced to pull out of multiple engagements, with no real sense of if or when he might recover. He recalls: “It was a really tough time. Being faced with the question, ‘what am I going to do if I can’t be a guitarist? It, was terrifying. Being a musician is all I ever knew.”

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Reviews

“The king of Aranjuez … The hottest guitarist in the world”

The Sunday Times

“In his specially created intimacy, Karadaglić infused the unearthly notes with his unique musicality, demonstrating why he is one of the best guitarists currently performing.”

Bachtrack

More Reviews

“[Miloš’] performances of works by De Falla, Velázquez and Piazzolla (accordionist Ksenija Sidorova joined him for the passionate Libertango by Piazzolla) were superb and he evoked a great mood in the jazz pieces he included – particularly Jobim’s ‘The Girl from Ipanema’ where he really made the instrument sing. He even managed to make the overplayed Spanish Romance feel like a piece I had never heard before. The highlight, though, was his extremely moving performance of the slow movement from Rodrigo’s Concierto de Aranjuez.”

Rosie Pentreath, Classical-music.com 

“Miloš Karadaglić is a contemporary musical superstar… Karadaglić placed his guitar on his knee and commanded an attentive silence from the audience, his playing immaculate, intimate and thoroughly enjoyable. Karadaglić might just be one of those celebrities that lives up to their media-hyped reputation.”

Herald Scotland 

“Listening to the debut album by guitarist Miloš Karadaglić, you find yourself wondering where on earth the classical guitar has been lately… it’s as if Karadaglić is shining a brilliant light on the entire heritage of his instrument.”

The Telegraph 

“His finely-judged solo opening – echoed by the London Philharmonic held on a tight rein by Vladimir Jurowski – was the prelude to an exploration of the concerto’s imagined landscape, through a musical conversation in which Milos’s playing had a notably restrained eloquence. The amplification of the guitar was better than I have ever heard it in this auditorium – the sound seemed at once small and powerfully focused – and as a result the solo and tutti voices interwove sweetly throughout the Adagio; the courtly quality of the concluding dance resolved itself in a cadence in which Milos unassumingly seemed to play himself off the stage. “

The Independent 

“Karadaglić wasn’t just a soloist but a one-man section doing the work of several instruments. Classical, Latino and flamenco flavours combined in his elaborate playing, the strings reverberating with the sweetness of a harp and the warmth of the harpsichord. He performed by heart with the charisma of a rock star and the elegance of a classical musician. His long standing relationship with the conductor and orchestra was evident in their almost intuitive interaction. He returned in the second half to play Spanish Romance. It’s a slow, delicate piece requiring absolute precision which he achieved effortlessly to a hushed accompaniment by the orchestra.”

www.localsecrets.com 

““Yay, Tárrega!” shouted an overjoyed audience member from the forth row of the Melbourne Recital Centre as Miloš Karadaglić announced his first encore for the evening: the Spanish composer’s evocative Recuerdos de la Alhambra for solo guitar. And the spontaneous outburst was by no means the only one of the concert. From the minute he appeared on stage and strummed the first note of Bach’s prelude for lute in C minor, the world’s dazzling new guitar sensation enthralled his crowd with a mix of musical prowess and easy amicability not often found in classical musicians… Sure, he has an astonishing diversity of tone, displays a remarkably diverse stylistic aptitude for anything from Baroque fugues to Latin American dances, and can tremolo with the best of them, but there’s more to him than that. Miloš is charismatic, confident, intelligent and charming. He introduces pieces with amusing personal anecdotes, shares intimate feelings that the music inspires in him, makes witty musical in-jokes, and the effect all this produces on the audience is intoxicating.”

Limelight Magazine