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4.4 out of 5 stars
71
Format: Audio CD|Change
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Showing 1-10 of 58 reviews(Verified Purchases). See all 71 reviews
VINE VOICEon February 20, 2017
I wasn't absolutely certain of this CD when I purchased it, but decided to take a chance. I'm glad I did! This is beautiful Spanish guitar. So relaxing and soothing. I listen to classical music while cooking and reading, and this is perfect for that. it's also beautiful to simply listen to. I'm so glad I can add this to my music library!
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on June 20, 2013
I first heard Milos Karadaglic on satelite radio and was moved by his version of Suite Espanola Opus 47 No 1. My father was a classical guitarist who played this piece. He recently passed away and this seemed like a heavenly postcard. Milos' interpretation of traditional classical guitar pieces are transcendent. He teases out incredible feeling from each note. I grew up hearing all the Masters...Segovia, Bream, Romero, Parkening, Williams. If he can avoid the inevitable pull toward pop culture Milos could eventually take a place among the giants.
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on July 2, 2011
I pre-ordered this CD because I saw it reviewed in The Economist (a newspaper that rarely reviews music). I treasure many CDs by Segovia, Williams and Bream in my collection and am familiar with most of the pieces on Milos's debut CD. So I didn't really expect anything new. Boy, was I wrong. Milos extracts an altogether refreshing tone from his instrument, and to my ear his technique and phrasing are flawless--and yet quite different from that of, for example, Bream, in the Albeniz and Granados pieces. That said the arrangement and almost meditative execution of Granados's Oriental is breathtaking. The acoustic of the Air Studio in London has an almost cathedral-like ambience; and DG's recording is demonstration quality, too, although some may find the fidelity with which the sound of the artist's breathing is transferred annoying (I did not). Mixed in with the better known pieces for guitar are ones by Domeniconi and Theodorakis, hopefully a signal that Milos will in future CDs look farther yet eastwards for his music while continuing also to dish up new interpretations of the better known repertoire. I you find your eyes welling up as you listen to this, don't say you weren't warned.
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on September 21, 2011
Owning many fine so-called "Latin" guitar albums the way that I do, I, at first, hesitated to purchase this wonderful collection of "Latin" sounding works played most beautifully by the very young Milos Karadaglic called "Mediterraneo". After reading the reviews, mainly on this board, to the aforesaid DGG album, I hesitated no longer. I am truly glad that I made the purchase because this album is most beautifully played with some very familiar works by the likes of Albeniz (I e, his "Leyenda", "Sevilla), Francisco Tarrega (i.e., "Recuerdos" "Lagrima"). Along with the familiar, to me, compositions there are a few that I had never heard. All are given beautiful, rhythmic, sensitive, "heart-felt" sounding and just plain lovely performances.

Milos' playing is gorgeous. I derived much pleasure from listening to his artistry that is on display in this album. I am sure that he will have a great career.

DGG has "put together" a most beautiful album that is great sounding with a great "insert" filled with pictures of the Mediterranean.
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on July 25, 2011
Overall, I really enjoy listening to this album. He has more talent that I could ever muster in probably thirty lifetimes! That said, when it comes to the Mikis Theodorakis and Carlo Domeniconi compositions, I much prefer listening to John Williams' interpretations. It seems to me that Milos has a tendency to rush through them, not letting these pieces breath. There is a delicacy of touch that is missing that comes through on Williams' renditions. I feel John sings while Milos shouts in places.

NTL - I am highly impressed with his technical virtuosity. His playing reflects robust, youthful energy more so than delicacy and subtly of emotion. No doubt, as he matures as an artist, his playing will take on all the qualities of greatness.
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on October 5, 2011
Asturias has long been my favorite piece by any artist but this performance of it has surpassed all others. It is a standard by which I will forever measure all other performances. Followed by two more pieces which are on my top 10, the Recuerdos de la Alahambra,& the Suite Espanola-Sevilla. I was allready pleased! Imagine my surprise then at the Koyunbaba (tracks 8-11). Not only do I now have a favorite to compete with the Asturias, but this artist hast truely blown my mind. The passion comes through distinctly in every track on the recording to the point that I find myself listening over and over repeatedly. I absolutely can't get enough of listening to this recording. I find myself in the Mediteranian all over again enjoying the sights, sounds, and smells. Furthermore listening to this young man play is NOTHING short of shere bliss and pleasure.
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on June 25, 2011
I have always found guitar music soothing and calming, but have rarely been truly happy with the musicality presented on guitar albums. However, this young man shows musical maturity way beyond his age. My first love in music is opera and this album provides the same effect as an effortlessly sung beautiful aria by a superb singer. He sings his music on the guitar. I don't know how else to put it. There is so much emotion and careful attention to the line of the music and he uses the underlying accompaniment with beauty that never distracts from the musical phrase. It's simply a great album to listen to and I plan to over and over for many years to come. I can't wait for his next release. If you haven't heard this fellow, do yourself a favor and get this album right away.
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on August 12, 2016
Good but not all songs downloaded.
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on June 26, 2011
There has been a recent surge of quiet anxiety in the classical music world, as the established heroes of classical guitar, Christopher Parkening and John Williams, age and enter retirement mode. Where have the all the classical guitarists gone? Who will usher the tradition into the 21st century? With the debut of this CD last week, everyone can breathe a grateful sigh of relief. This recording is nuanced, exciting, thoughtful, masterful, enchanting, and more than capable of assuaging all fears regarding the fate of classical guitar.

The music chosen for this CD reflect the Spanish-dominated preferences of the classical guitar repertoire - much of which I was only cursorily familiar. But even for the uninitiated, it is obvious how masterful these renditions are, and how talented this young man is. The sound is fluent, easy, joyous, clear, and confident.

I immediately noticed that rather than organize the album according to composer or piece, the producers (or Milos?) have chosen to present a collage of songs, somewhat irrespective of chronology or larger work. In some cases, as in Domeniconi's "Koyunbaba," the four movement piece is included in its entirety and in proper, consecutive order. In others, as in Albeniz's "Suite Espanola," only certain movements are recorded, and are split and scattered throughout the album. For my part, this speaks to a concern for the overall depth and appropriate flow of the CD, rather than a deliberately "authentic" interpretation of certain works. Doubtless there are merits to both approaches, but it is quite pleasing, as well as fitting to a debut, for the emphasis to be on overarching sound, beauty, and artistic form above all other concerns.

Well done! We certainly look forward to more from Milos.
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on September 4, 2011
Milos is the best guitarist I've heard in the last 10 - 20 years. He displays a much more mature understanding of the genre than his young age should allow. The guitar is the featured instrument, not clouded with over manipulated orchestrations. A pure classical guitar sound is what I love and Milos delivered. I hope he makes another masterpiece very soon.
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