Dr. Chalakov has enjoyed a prolific career as a performer, educator, and conductor for more than two decades. Growing up in a musical family in his home country, Bulgaria, he completed his professional studies at the Academy of Music, Dance, and Fine Arts in Plovdiv. In 1993, he made history as the youngest member of the orchestras of the Plovdiv State Philharmonic and State Opera Plovdiv, institutions with which he performed in Bulgaria and Europe and recorded for the labels Music Minus One and Danacord. 

The pursuit of personal and professional growth led Dr. Chalakov to Monterrey, Mexico, where he joined the Symphony Orchestra of the Autonomous University of Nuevo Leon. His international experience broadened his perspective and adaptability, establishing him as a sought-after educator and performer. He held faculty positions at the National University of Mexico, the Autonomous University of Nuevo Leon, and the University of Montemorelos, among others. As a soloist and chamber musician, he performed in Mexico and the United States. 

While in Mexico, Dr. Chalakov ventured into conducting. He held the positions of Assistant Director of the Youth Symphony of the State of Mexico and Music Director of the Youth Symphony of the College for Music and Dance in Monterrey. He also appeared as a guest conductor with The Ohio State Symphony Orchestra and Texas State Symphony Orchestra. 

Dr. Chalakov holds advanced degrees in Cello Performance and Music Education from the Ohio State University and Texas State University, where he studied on a full associateship and scholarship. His outstanding performance as a string student and graduate associate was recognized during his studies. He was also awarded the Hanshumaker Family Fund at the Ohio State University for his contribution to the String Education area. His doctoral dissertation focuses on the pedagogy of Louis Feuillard in the context of cello pedagogy in the first half of the 20th century. 

Dr. Chalakov is a staunch advocate of holistic musicianship development. He believes in the importance of building a solid instrumental technique and healthy playing habits, developing acute listening skills, and exploring each student’s individual artistic voice. In his practice, he relies on several teaching strategies, such as visualization, verbalization, association, and embodiment, that help students perceive music as a complete experience and develop musical imagination. Paraphrasing Brooke Joyce, students must be given a mirror and a window: a mirror to look at themselves and explore their creativity, and a window to see and appreciate the musical richness of the world outside, and to ignite their desire to be part of it.