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Customer Reviews

Attempt at super-staring the guitarist

This is one of those albums that, had it been produced more artistically (i.e.: focus on the music) and less commercially (i.e.: less focus on the soloist), could have been a fairly good recording.

Instead, from the cover (defocused background, GIANT ALL CAPS first name), to the pictures inside, to the pompous essay, and sadly all the way through the engineering, everything here is geared to put Milos Karadaglic front and centre as a superstar.

Nevermind that the music suffers from it.

The guitar is so ridiculously forward compared to the orchestra that you actually have to wonder why they bothered hiring an orchestra to begin with. They could have just recorded the guitar parts and called it “Aranjuez for Solo Guitar”. Instead, there’s the guitar parts, and some orchestral stuff droning in the back, almost like it’s coming from a different room and attempting to interrupt or join the guitar playing.
Or maybe the orchestra was playing inside that building you see over his shoulder.

In any event, it’s a decent enough performance of all these works, but really can’t be recommended. Not when there are other equally well played, and much, much better recorded versions out there.


Genre: Classical

Canadian conductor Yannick Nézet-Séguin has had one of the most meteoric rises of any conductor of the early twenty first century. In addition to conducting virtually all the major Canadian orchestras while still in his twenties, he has established a substantial international career, leading orchestras such as the London Philharmonic Orchestra, the Scottish Chamber Orchestra, the Dresden Staatskapelle, and the French National Orchestra, and has built a substantial discography. He was appointed to...
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