Milos Karadaglic – Review

Concert review, June 21
Le Poisson Rouge, New York

Milos KaradaglicMilos Karadaglic, a 27 year old musician from Montenegro, has recently taken quite an extraordinary path for a classical guitarist. Signed by Deutsche Grammophon, Milos has been traveling extensively promoting his newly released CD “Mediterraneo”. Additionally, Milos has been popping up in several mainstream publications such as The Economist, New York Times, The Guardian etc.. I have observed some curious reactions to Milos’ recent publicity and I will address that later in this article, but first I will tell you about the concert last night.

Having attended countless classical guitar concerts over the past couple of decades, I was really delighted to experience a concert that stood out from the rest. The Poisson Rouge is a trendy new venue on Bleeker Street in Manhattan that built its reputation by presenting contemporary classical music to the New York audience. The layout of the venue is more akin to what one might expect for a jazz club. Dim lighting, tables, and a bar with food and drink service throughout the evening. Even before the performance began, the surroundings had created a very different mood and ambiance compared to a more conventional classical concert. The staff and audience were very respectful with ambient noise throughout the performance, but with the powerful house amplification of the guitar, it was never an issue.

Milos performed a single set of works without intermission, in between pieces Milos shared some insights with the audience and in general exuded a very calm, collected charisma that added greatly to the overall effect of the performance. The repertoire selection was largely taken from his newly released album and consisted of: Villa Lobos Prelude no.1, Asturias and Granada by Albeniz, Spanish dance no.5 and Oriental by Granados, Prelude and Fugue from Bach BWV 997 and Koyunbaba by Carlo Domeniconi. While to fellow classical guitarists this repertoire selection has been well worn in both recital and recording, I can only imagine that to the full house that was attending, much or all of this music was brand new.

Throughout the entire performance Milos played with impeccable accuracy and command. The interpretation of Bach’s Prelude and Fugue stood out to me in particular but his excellent musical phrasing and clear melodic lines were consistently of a high standard. Milos plays a particularly beautiful Smallman guitar, and he managed to coax out some of the most beautiful high notes in Asturias, that I have ever heard.

Following the performance, the audience showed their appreciation by calling Milos back to the stage three times (without an encore – which may partly be because of the Koyunbaba tuning!) and then proceeded to form a large queue to have CD’s signed.

Milos is a world class performer, and he possesses a charisma and presence that will serve to further his already blossoming career. I thoroughly enjoyed this performance and I am very excited to watch the progression of his career.


Apart from the performance itself, there were many larger issues that were brought up by the concert last night and by the discussions that I have witnessed on the ever positive internet.

Many readers of this site are well aware of the increasing pool of phenomenal performers that are in the world today. One simply has to go to a big guitar festival to encounter not one but several guitarists that are really exceptional and gifted. Therefore, when reading article titles such as ‘The guitar has a new hero’ and comments that suggest that the guitar has been dead or dormant since the heyday of Segovia, Bream and Williams, I can understand that some people might find these ideas and statements grating, if not offensive. Similarly, the repertoire selection for the album may come across as redundant, given the ubiquitous recordings that already exist containing the same pieces.

A few months ago, when the promotional material started flowing, I was dismayed to read several vitriolic discussions on the internet regarding Milos. As we all know, the internet is particularly adept at fueling anonymous hatred, but I was saddened to see people lashing out at Milos for the amount of exposure he was receiving. In Australia this phenomenon is called ‘tall poppy syndrome’.

The fact of the matter is, a large part (a very large part) of the societies we live in have no familiarity with the classical guitar at all. I cannot tell you the amount of blank faces I have stared into when I tell people what I do. Then, suddenly their faces light up and say, “Oh! Like the Gypsy Kings!”

I think Milos is bringing the classical guitar and some of its most treasured repertoire to an audience that would otherwise be ignorant of our six stringed world. For that, I am grateful. If your particular taste in repertoire or performance is different, there are a multitude of performers out there that you can choose to support instead. In terms of the publicity that is being generated, I believe that in a media saturated world, publicity sometimes needs hyperbole. Just walk down broadway in New York city and count how many signs say “Best Coffee in the World!” (and I can tell you right now… the US does many things well, coffee is not one of them).

I have always been vexed by peoples tendency to bring down others that are in the same boat. I believe that if the guitar community shows support for others that do well, everyone will benefit. I can only imagine that our own guitar heroes in the past had their detractors, but I think we all know how much gratitude we owe them now.

In the end, the ultimate critic, time, will have the final say to Milos’ legacy, but it is my hope that the guitar community will encourage the success of anyone who is fortunate enough to have it.

To end, I will leave you with a joke:

How many guitarists does it take to change a light bulb?
100, 1 to change the bulb and 99 to say “I could have done it better”

– Simon

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37 Responses

  1. Regina says:

    At last, someone comes up with the “right” asnwer!

    • Anthony says:

      I don’t play the guitar but I have many recordings of Segovia, Bream, Williams etc. I thought your article Simon was right on. Regardless of whether or not Milos is the best new talent or simply a talent he is is the one we currently get to appreciate. Let’s do just that. he plays beautifully and I just bought his CD to listen to again. If somebody else comes along I’ll appreciate them too. Most know that Ray Krock never invented the McDonald’s hamburger let alone it being the best one burger. However it is the one we all know and many enjoy. Let Milos have his opportunity. It is up to him whether he becomes the next true and lasting talent.

  2. Milos opened Pandora’s box, and we all should be thankful for it. I think it was about time something happened for classical guitarists to realize that to count how many competitions you win is HARDLY a good communication’s strategy – in actuality, its kind of lame.

    That being said, unfortunately he severely misrepresents the development of this instrument. I think though, that a window of opportunity has been opened for this market, so we’ll see what happens in the future. I would like to thank you Simon for exposing his developments in an unbiased manner, and although we might disagree with many artistic points, his influence in this market will undoubtedly be positive.

    People should realize we dont need “competition counters” (you all know who they are, just read their bio’s) or super virtuosos without personality. The guitar needs better musically and technichally trained “Milos Karadaglic’s”. He’s changed the game.

    • John says:

      Alvaro, you wrote: “That being said, unfortunately he severely misrepresents the development of this instrument”.

      It’s unfair to make accusations without spelling them out. What exactly do you mean?

    • John says:

      Another thing… while competitions alone are not the main thing, they are good; because they allow you to see a high standard.

      I look at the guitar in the USA 15 years back and am horrified at the low standard that was present at the time: people were all still saying – “go listen to Segovia, he’s the best”.
      So you went and bought a Segovia recording and what did you hear: mainly distorted rubato, rallentando etc. that were all there because of his lack of good technique (or maby his old age). If this is what people were exposed to, no wonder the overall standard was so low.

      Suddenly youtube appears and people are able to hear high technical standards of playing. Some chinese girls have already got such a high technical standard, that they can play loops around poor old Segovia. Suddenly the overall standard starts to really rise. Bedroom players around the world begin to notice that there’s more than old-man interpretations of a frail Segovia.

      So if one things has brought up the standard, we can thank the tool that brought the guitar back into people living rooms and homes: youtube! 😉

      • Darren O'Neill says:

        15 years ago – 1996. Let’s see: Fabio Zanon won both the GFA and Francisco Tarrega competitions. Low standards of playing at that time?

        And regardless of your misguided thoughts on the technical prowess of young, Asian females, there’s one thing that dear old Segovia always had in his playing which they never will – soul.

        Perhaps you should listen with your heart and less with your eyes.

        • John says:

          Well maby he had soul, but he hid it quite well behind recordings that sound like a drunk amateur playing!
          I stopped praying at the Segovia shrine of fiction and wishful thinking many years ago!
          Anyway: I was talking of technical standards above. Maby you should clearly read what people write, rather than second-guessing it.

          My comment on the poor standard of guitar playing relates to the average standard in the USA (in terms of teaching and performing) 15 years and more ago. There are some exceptions, but you can count them on one hand. The USA is only slowly (and I really mean slowly!) catching up.

          • Marv Luse says:

            It is difficult to abide the misguided opinions of those whose belief in their own authority is exceeded only by their own pathetic ignorance. But, if nothing else, such pompous asses can be immensely entertaining. Thank you for your ignorance! I needed a good laugh today, and you provided it in spades.

        • John says:

          Darren O’Neill wrote: “your misguided thoughts on the technical prowess of young, Asian females”.

          Maby you should try listening with open eyes and ears, for the students of Chen Zhi have a technical mastery that you can only ever dream of reaching!

        • Michael says:

          “Perhaps the comparison could be made that the Europeans and Asians can play the guitar, and the Americans can only talk… ”

          I agree. Milos is European and can definitely play!

  3. John says:

    Milos is really pushed a lot.

    But there are many guitarists that are are currently going down very similar paths:
    Just look at Xuefei Yang and EMI
    And Craig Ogden and UK’s Classic FM

    The only difference with Milos, is that his marketing is much extremer:
    See also the comments here:

    • John says:

      Milos did not opened any “Pandora’s box”.

      There’s Xuefei Yang, Craig Ogden. Heck there’s John Williams.

      Many don’t like ultra-recordlabel-marketing… Have a look at Zoran Dukic, Harold Gretton, Ricardo Gallén, Tilman Hoppstock, Marek Pasieczny, Zoran Anic, …
      Practically unknown to any new bedroom guitar beginners. After bedroom guitar beginners begin browing about the classical guitar… they unfortunately quickly hear about Segovia. What a shame!


      • Marv Luse says:

        John, I can only hope you develop a severe case of psoriasis compounded by scurvy and scrotum lice. Only then will your physical vileness match your ugly demeanor. Bad breath would help as well.

  4. John says:

    The best advertisement that the classical guitar currently has (viewed from a global perspective) is this:

    No one is more visible, more human, more non-commercial (248 high quality free uploads).
    It’s just a guy playing what he likes. No competition-prizes, no Deutsche Grammophon, no EMI, no marketing, no shit. 😉

  5. Dear All.

    I reinstate my statements above with the following explanations:

    Milos did open pandora’s box: The industry (and by that I refer to the main classical music industry of orchestras and opera) DOES NOT KNOW about Xuefei Yang, because although she is in a decent agency, it is so only because of john williams, and there’s no push to her career in the mainstream media. She just has a recording contract with EMI, which is bankrupt and will dissapear soon by the way (its owned by Citibank now) With that as a support, no wonder nobody except people in the guitar world talk about her.

    @ John: Theres john williams? REALLY??? where is he playing? tell me one big orchestra where he is playing THIS MONTH and i’ll buy first row tickets for the entire forum. The guy got bored…started playing with John Etheridge (or however its written) and stopped being the face of the guitar. Its honestly a shame, by his age, segovia was at the peak of his popularity, did DVD’s did the masterclasses, was a PR CAMPAIGN FOR THE CLASSICAL GUITAR. I dont know the reason, I just wish the guitar had more artists than just guitarists who got bored of being “god” and retired by the age of 70. Boulez is 85 and still conducts. Carter is 102!!!!!! AND STILL COMPOSES! these guys are not motivated by fame or money, they are artists. We need more like them in the guitar.

    Milos severely misrepresents the growth of this instrument: Again, from my perspective also true. If anybody knows the names Rafael Aguirre, Marcin Dylla, Gabriel Bianco, Ricardo Gallen, Aniello Desiderio, etc, you would know what I am talking about. Any of this guys, in my opinion, are a better representation of what the guitar as an instrument has achieved in the last 100 years. But just the fact that there’s someone out there making people talk about the guitar.

    And for those of you who are exited about the freedoms of Youtube, here’s a word for you: REFERENCES. Deutsche Grammophon is DG and Sony is Sony, because of its brand power. People ASSUME that the guys who record there epitomize classical music (like playing in carnegie hall). It gives status, and people pay a prime for status. How do you differentiate David Russell from Larry from subway playing guitar in youtube?? Just because 10 friends of yours told you “david russell is the best”???

    I am sure Ukelelists also celebrate that “youtube allowed the world to see the uekele”, the same goes for bassoonists, cembalsists and everything you can imagine. Every second THOUSANDS of videos are uploaded, and there’s no discrimination for you or me to compete with David Russell or Barrueco. In fact, the latter are the great losers, none of their videos are the most seen. A plain guy from Montana playing Recuerdos has more views than our “heroes”. They are still our heroes though, because we are part of this community and we believe the truth of the majority when they say “they are special”. Its all references, and up to now, nobody really had a CLEAR path to obtaining that other than milos. And that – I must admit – is something we really have not seen since John Williams and Julian Bream. Despite of the rise of the interpretative, technical and musical level of the population.


    • Jack says:

      Alvaro, you sound like a sore looser.

      John Williams played
      ROSS EDWARDS Guitar Concerto
      SCULTHORPE Nourlangie
      with the English Chamber Orchestra just a week or so back!!

      Your wining really is beyond comparison.
      Are you having problems getting references?

    • Jack says:

      Oh and Alvaro… could it be that you’re so sore, because you were hosting Rafael Aguirre’s fantastic videos on your channel… and got many superp replies with people thinking you’re actually Aguirre.
      I’m sorry, but Aguirre really is a great guitarist. And he’s going places. He won at Koblenz. He’s doing recordings etc.
      And you??? Oh… you’re just wining.
      …and giving questionable lectures on “The Worldwide Classical Guitar Market: Challenges and Opportunities”.

    • Fabio says:

      Hey Alvaro Mendizabal!
      Are you not the General Manager of P&R Concert Artists?

      What’s going on with your website:
      It is dead.

      And your comments here, seem to suggest that you and “P&R Concert Artists” are starting to feel the real-word pressure!

  6. Perfect.

    Too bad I didn’t post this a week or so ago, so we can all go and see: sculpthore, Edwards??? I mean, 10 years ago this guy was playing the Aranjuez at the Waldbühne with the Berlin Phil, that was fantastic!! But then?? This year the Berliner Philarmoniker played the Aranjuez concerto for the yearly europa concert – who did they call?? a flamenco guitarist. Thats how important classical guitar has been lately in the mainstream media. No wining. Facts my friend. Facts.

    Furthermore. How did you hear about this concert? has it gotten any reviews? thats what I mean. Lets not forget he is still in Askonas Holt, the guy is going to play here and there forever until he says goodbye like Julian Bream. That doesnt mean though that its an everyday name in the industry. He can perform with london symphony every day for god’s sake, but if has no repercusion (again: Ross Edwards??) no wonder Milos can go by and say the guitar has been dormant in the mainstrem media – because it has.

    I can see how my comments are shocking to some, after all its all much easier to accept what life throws at us than to actually THINK, let alone do something.

    I would just like to keep this a well versed conversation rather than to throw adjectives, which I dont think I deserve for thinking differently, right Jack/John/Fabio??? It is childish to assume things about people you know because of a post in internet. I have no idea if you are aficionados, or are wishing for a career, or are rocket scientists who find inspiration in the classical guitar and its artists, therefore I can’t say you are wining or a loser or anything. You are just people who disagree with me. plain and simple

    Cheers !

    • Jack says:

      OK Alvaro, fair enough.

      But maby you should let John do what he himself likes to do.
      Williams does not need people telling him what he should do, or what he should perform. If you think he “stopped being the face of the guitar” then that’s your opinion.
      But you cannot dictate to John what to do.

      Nor can you dictate to people that they should listen to “Rafael Aguirre, Marcin Dylla, Gabriel Bianco, Ricardo Gallen, Aniello Desiderio”, or “David Russell”: all artists that you seem to like. You can recommend it and you can use marketing etc. But you cannot force it.
      Iin the end we all have a free choice of whom we follow, what we do and what we like.
      I think there are plenty of good performers all over the world, doing good things.

      Our aim should not be to force the classical guitar onto people.

    • Michael says:

      Alvaro’s feelings are incomprehensible to me.

      He claims that “Milos severely misrepresents the growth of this instrument”.

      And when ASKED about it, he comes about with a pseudo-argument, which is no argument at all:
      Alvaro Mendizabal: “Milos severely misrepresents the growth of this instrument: Again, from my perspective also true. If anybody knows the names Rafael Aguirre, Marcin Dylla, Gabriel Bianco, Ricardo Gallen, Aniello Desiderio, etc, you would know what I am talking about. Any of this guys, in my opinion, are a better representation of what the guitar as an instrument has achieved in the last 100 years. ”

      Utter nonsense. Of course he mentions good players (check them out!!), but it’s still not an argument/explanation of the original question.

      Milos is a fantastic player who does not misrepresent anything.
      Thank God that he’s is not with “P&R Concert Artists”, otherwise he’d have to listen to Alvaro telling him how he’s “misrepresenting the development of the instrument”.

      … so ugly

      • Please read my reply below, I think it states quite well why I think like that, which is just a point of view. You are certainly welcome to have another one.

        On regards of your statement: “Milos is a fantastic play who does not misrepresent anything”, lets do 2 things:

        1) First, please listen to his live performances, I reccomend his BACH FUGUE BWV 997 from his Itunes CD (he released it last year, recorded live in the Itunes Festival)

        2) me ask you the following question:

        Given his position, and the media attention he’s gathering, he will be considered the “best” and most proficient guitarist of our time, without a doubt. There’s already an article in Germany from this week which calls him “the Guitar God, the best guitarist in decades”. DO YOU AGREE WITH THAT STATEMENT? Do you believe he is a better musician/player/artist than any of the people I mentioned, let alone D.Russell, Barrueco, and all the guys are stated not to exist by his PR campaign? That is certainly a position to have, and I respect that, many people will think so, and you are more than welcome to think like that. Musical taste is highly personal. However, given you are writing in this forum I think you might have listened to some guitarists to compare, so even better, you are making an informed assesment.
        So answer YES/NO?

        When yes, then its your taste, so there’s no point in debating that. For you I will be definitively be wrong, he’s certainly on the same league as the ones mentioned, in fact a league above. However, if the answer is no, then you must agree with me, that considering him “a guitar god, the best guitarist in decades” is a misrepresentation. Thats what the word means. To state that something is one thing, when the reality – according to one’s position that is – is different than how he is depicted. Simple as that.

        The guy is a good an able guitarist with many qualities which are respected and celebrated, no doubt. What I meant with that comment is what I just explained above.


        • Michael says:

          Dear Alvaro,

          you’re honest in you opinion. That’s a good thing!

          But here’s something to think about:
          I’m not going to go around and rate guitarists like Olympic sprinters. I don’t give them places like 1, 2, 3 etc.

          I think the point you make – which I only now understand – is that you think that it’s unfair that only Milos is getting this media attention.
          Personally I don’t trust the media. If they say he’s a “Guitar God”, I don’t believe it.

          You seem to want an ideal world, where the really good performers all are highly visible in the media. You want an ideal world. And you think that the world is wrong that only Milos is getting this media attention.
          I have known for years, that the best guitarists in the world, are often obscure (and unknown). Guitarists that nobody knows of. I would think it terrible if the players supported by “P&R Concert Artists” are suddenly so famous and getting that much attention-> do you know why? Because the best have always been hard to find. 😉
          For me it’s fun to find good performers. Because it’s like a secret. You don’t find the best classical guitarist by googling “best classical guitarist”. 😉
          And I like the mystique where some really good performers are unknown by so many.

          The media attention of Milos is just fake pushing. Yes you’re right that maby it’s unfair that its only him that’s soooo visible. But as I said… for me it’s not a problem.

          I think your perception comes from the fact that you’re doing P&R Concert Artists.
          If I can give you a tip: stop looking so much at what others are doing. Don’t google Milos! 😉 You know more than enough about the marketing behind him anyway.

          And make no mistake… Milos will start to have a lot of pressure in the future. And maby he will not like it. Sometimes it’s good if artists are shielded a bit. So it can be good, if your artists are not spammed all over in every newspaper. Lets see how Milos develops. So possibly he will not cope well with all the attention. Playing concert after concert after concert. No more time for anything else. Doing stupid interview. Saying the same things again and again and again.
          Do you think that’s good for artists???

          I’m sure you can give your artists (and wonderful artists they are!!) good opportunities.
          You don’t need to make them into other Milos’s… Because then they are just clones. Good musicians should not be clones.

          Another reason (beyond pressure) why it’s not good it people everywhere start to like Milos and think he’s the best guitarist… can be the Segovia-syndrome: maby he’ll be worshipped and give worse and worse performances. Just look at Segovia: he could do anything, and people still thought it was good.
          So sometimes it’s good for artists to get criticism. Segovia got far too little!
          Look at John Williams: he’s had pressure of expectation: he’s been known to cancel concerts in the past etc.
          John Williams does have some criticism, which is good. He has to reinvent himself a little.
          Players need to be on their toes.

          In the end… I don’t think John, Jack and others here are against you here.
          You don’t need to love the things going on around Milos. But just be sure of WHAT EXACTLY you criticise. I would not mention his playing. I would not mention guitarist like in a race: best, 2nd-best, etc.
          Go and criticise and think about what’s really bothering you: the marketing overflow…
          … which… if you read my post here again, you might be able to put into a more “realistic” context.

          So… Alvaro
          all the best and good luck to you!

        • Michael says:

          There are many different marketing strategies, other than “fast-food-spam” which is everywhere.

  7. Simon says:

    Hi John, Peter, Jack, Fabio, etc.,

    It seems from your ip address in Vienna that you are one person posting with a variety of names. I would appreciate if you just stuck to one name on this site, your real one.


    • Jack says:

      Hi Simon,

      yes that is correct. Well partially. We’re a group of guitar students studying at the conservatory in Vienna. The ip you see, is that of the student’s hostel.

      with kind regards from the city of music,

  8. Its not ugly.

    And I am sorry I could not attend your question earlier. Here is my answer:

    Given the exponential growth of the classical guitar market, pushed by guitar departments and competitions around the world, the playing level has been elevated so much, that the people who stay in the median (players who are kind of having a career, playing here and there) is much higher than the ones we saw before. Some comments here have agreed with that, even yours (or Johns, or whatever your name is) when referring to segovia.

    If in addition, you add the development of the instrument itself (loudness, clarity, etc) you have a situation in which thousands of people who fall in the median, are going to have a level (in comparison of loudness, video quality and image) which is seen as High by yesterday’s standards. That wouldnt be a problem at all, if the people who are playing the very best, would get opportunities like this, that is why I say he misrepresents the growth and development of the guitar as a whole.

    A bit of music history: When Tchaikovsky wrote his violin concerto, it was considered unplayable, even by the very best violinists. Then someone came and did it, he got promoted and was in the mainstream and everything good. How many people can play the Tchaikovsky concerto now? 10 year old kids in Korea and China, thousands of people. That’s called development. However, since the Violin and the classical music has REFERENCES as regards to the artistic development, they wont go and hire the first dude who comes and says “look at me, I can play the Tchaikovsky concerto”.

    On the other hand, the very lack of knowledge of what the “artistic” level is in the classical guitar, chances are that 9 out of 10 good guitarists (and I admit, Milos is a good guitarist) are going to sound good enough. That means that there’s good chances that ANYBODY WRITING IN THIS FORUM could’ve potentially (in the artistic realm) be on his shoes, however we didnt because as guitarists we worried about the wrong things. He didnt, and he capitalized BIG TIME, and you know what. GREAT FOR HIM! Thats the only thing I said, that its UNFORTUNATE that they didnt pick someone of that reduced but very highly proficient group which I mentioned before, and I could even mention more people, who are all playing at an incredibly high level. If any of those guys though, gets a recording agreement because of what milos has done, that would be amazing, and we would all celebrate that things are going back on course for the guitar.

    We all love the instrument, and honestly, despite I disagree with some of the things he does (I am entitled to disagree right? You dont have to loooooooveee the guy and everything he does just because he is out there do you?) it doesnt mean it is positive. My first comment came on a positive note, I just mentioned some things that I didnt agree on, and people took it as though im completely against the guy.

    He has done probably more for the classical guitar already, than anybody in the last 25 years, the guy deserves to be in the media and to play all over. That benefits all of us.

    Best Regards,


    P.D. And for those who were wondering, yes, my name is Alvaro Mendizabal and I am the founder and president of P&R Concert Artists as some I have mentioned in this comments, so please take my comments at face value. Nobody is hiding here. I decided to open a company for that small selected group of performers at the very top of the pyramid of what the classical guitar instrument is able to do, and I am happy to count with a couple of them under my care. Contrary to what you might thing, I am forever grateful to milos. Quite honestly, he is doing us all a great favor, specially me and my artists.

  9. CJ Robinson says:

    Putting all the insanely petty arguments aside, I just like to listen to the man play. I think that’s what music is about. Not who the “best” is, not who won the most competitions, not who is currently doing what with whom, but who you enjoy listening to. I enjoy Milos music, period. And, dearest gentlemen, if you must continue your fracas in the comments section could you at least learn to spell?

  10. Marv Luse says:

    Well, I guess Elliot had it right: those who can, play; those who can’t make pompous posts to internet blogs. What a bunch of pathetic dweebs. You folks need a life. Bad. Real bad.

  11. Mikkel says:

    Am I the only one that finds his interpretations of music quite stale and boring? While his technical ability is obviously very advanced I find his lack of understanding in regards to musical structure especially in his recording of Villa-Lobos and his lack of dynamics and sense of style in the Koyunbaba (compared to Desiderio or the composer himself) very “un” musical. I’m glad he has succes though, it’s great for the guitar world!

  12. Unlisted Foreal says:

    Pepe Romero is still the greatest guitarist of the current era. Can't believe no one mentioned him! And he is the most modest, least publicity-seeking, as well.

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