Milos Karadaglic


Milos KaradaglicPhotos – Margaret Malandruccolo / Deutsche Grammophon

Milos Karadaglic
is upbeat about being on tour in Australia. 'I'm feasting on a ten-course dinner of landscapes!' he says on the phone from Adelaide. His tour – to tie in with the release of his second album Latino/Pasion – takes in Brisbane, Sydney, Adelaide, Melbourne and Perth. His first, Mediterraneo, released last year, went to number one in the classical music charts in the UK, US and Australia.

Milos is articulate and passionate, not just about music and the guitar, but about people, cities and landscape. He loves all of Australia, but his 'city of choice' is Melbourne, where he'll play the Melbourne Recital Centre on Saturday. He has friends here who were fellow-students at the Royal Academy of Music in London, where he won a scholarship from his home in war-torn Montenegro at the age of sixteen.

Since then his playing has brought not just critical success, awards and sell-out concerts at Carnegie Hall and London's Royal Albert Hall. It has attracted new audiences for classical music. Although Milos puts that down to the power of the guitar to bridge the gap between classical and non-classical music, there is no doubt that the joy he finds in the music and his technical mastery are the main drawcards.

Milos is no ivory tower artist. For him, performance is a 'conversation' and he takes the opportunity to talk with his audience about the music. 'My personal insight opens the door to the imagination of the listener.' For Milos, now twenty-eight, playing live is the most important part of his music, where it comes alive. 'There is a special electricity between you and the audience each night.' He talks about the audiences as personalities: Brisbane was 'open and honest', Sydney 'loud, glamorous and excited'.

His passion for the music is palpable. Asked about his favourite pieces, he says, 'I love it all! If I didn't love, it, I couldn't make anyone else love it!' The program for this recital tour has something for all tastes and is a showcase of his styles, ranging from Bach to recent South American composers and includes Barrios, Villa-Lobos, Albeniz, Theodorakis and Domeniconi.

It is the final piece in the program, Domeniconi's Koyunbaba, that has a special meaning for Milos. He heard it in his first week at the Royal Academy, when he was feeling homesick for Montenegro and he drank it in 'like medicine for my nostalgia'. He sat down and learned it straight away.
{xtypo_quote_right}There is a special electricity between you and the audience each night{/xtypo_quote_right}
What is unique about Milos' playing? He has no wish to define his style. 'If I tried to, it would evaporate,' he says. 'Every night is different. There is no formula for interpretation.' It is maybe through this constantly fresh interpretation and the intimacy of the guitar, in addition to his superlative technique, that connects Milos to audiences throughout the world.

Milos does not just play the great concert halls of the world. He has played in the most unlikely venues, such as the Roundhouse in London, where he now lives. These younger, less conventional audiences are just as important for him. 'If you want classical music is to stay alive in the twenty-first century, take the guitar out of its case and play wherever there are people to hear you.'

He travels with a guitar made by Australian luthier Greg Smallman, who was discovered by the world-renowned guitarist John Williams. Its innovative design gives it high levels of volume and resonance, ideal for the concert hall. It is just another element that makes up Milos' excellence in performance with what he dubs 'the most popular instrument in the world.'


Milos Karadaglic

2012 Australian Tour Dates

Brisbane: Nov 22, 8pm - QPAC
Sydney: Nov 24, 8pm - City Recital Hall
Adelaide: Nov 28, 8pm - Adelaide Town Hall
Melbourne: Dec 1, 8pm - Melbourne Recital Centre
Perth: Dec 3, 8pm - Perth Concert Hall

Visit: www.milosguitar.com

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