...Bright theatrical interpretation of the Mussorgsky by the U.S. conductor Predrag Gosta...
The program of the evening, which brought in a record number of audience, presented Masterpieces of Symphonic Music - works by L. van Beethoven, Tchaikovsky, Strauss and Mussorgsky... The American conductor of Serbian descent, Predrag Gosta, triumphantly concluded the concert with his interpretation of M. Mussorgsky's "Pictures at an Exhibition". Gosta presented to the public the orchestration by Maurice Ravel, which is not too popular in Russia due to its extravagant instrumentation that at first creates a small shock in the audience. Gosta overcame this shock with his genuine Slavic sweep, passion and variety of musical colors... "Gnomus", "Baba Yaga," and especially "Cum mortuis in lingua mortua," were all performed very stylistically by the orchestra. A powerful "Great Gate of Kiev" completed this memorable concert not by putting a period, but an exclamation mark.
(Journal of the Interregional Charitable Foundation "Heritage", St. Petersburg, Russia, August 2011)

[Piccolo Spoleto Festival 2011]
Each piece... was polished and sparkled like something new. The playing was technically elegant and warmed by loving interpretation infused with infectious personality...
(CVNC: An Online Arts Journal in North Carolina, June 2011)

Bach's B-minor Mass from New Trinity Baroque and Georgia Tech Chamber Choir
...a thoughtful, energizing exception that gave the B-minor Mass a fresh sound. Under New Trinity founder and conductor Predrag Gosta, they illuminated the various madrigal-like choruses and operatic arias with individual attention... Emotionally heartfelt... strong performance... Saturday night at St. Bartholomew's Episcopal, which was filled to capacity... It's a special pleasure to hear a student choir sing at a high level with enthusiasm and clarity of purpose. ...The four vocal soloists were often compelling, more so in duets with the fine instrumentalists... Conductor Gosta kept it all pushing forward... His tempos were not overly fast, but they felt fleet and he ended sections with a crisp cutoff — a very pleasant sensation. The Serbian-born harpsichordist and conductor is audibly gaining in interpretive heft, in parallel with his nascent conducting career, from the Gwinnett Ballet to concerts in Russia and Eastern Europe...
(ArtsCriticAtl.com, March 2011)

The Serb-American conductor, Predrag Gosta, led a spirited and faitful reading of Mussorgsky's 'Pictures at an Exhibition' with the Ruse Philharmonic... Gosta is a conductor with great flair and élan.
(Opera Rousse, January 2011)

Concert of the Belgrade Philharmonic Orchestra in the Kolarac Foundation's Concert Hall
Without doubt [Predrag Gosta] has worked very meticulously with the [Belgrade Philharmonic] Orchestra on Baroque performance practice... [His interpretation] was accepted with passion, and performed with a great admiration in the capacity-full concert hall... The best impression was given by the smoothes of some chords from the woodwinds, and the exposure of the trumpets. In his home-town, Predrag Gosta has presented himself with an excellent conductor's posture and a precise hand that showed every sign and requirement, not allowing concentration to diminish even for a moment. This was a magnificent and grand interpretation of the Baroque... And, while the question of symphonic interpretation of Baroque music may still be open for discussion, one thing we can be absolutely certain - and this is that maestro Gosta, from one quite bizarre piece such as the Alt-Flute Concerto "Bulk" by German composer Robert HP Platz,... has created the composition.
(Politika, Belgrade, Serbia, November 22, 2010)

State Capella of St. Petersburg, after it's official end of the season, has enchanted its audience with yet another excellent concert of symphonic music. On June 29, the Orchestra of the State Capella, under the direction of the American conductor Predrag Gosta, presented the program with music of two continents - America and Europe... This concert was a brilliant and unforgettable event of the season... The musicians and the audience created together a holiday atmosphere. The orchestra responded not only to every gesture and every movement of the conductor - it seemed that even their breaths were united. Predrag Gosta knew how to achieve a true creative atmosphere in the hall... The general enthusiasm which prevailed in the hall was transformed into a tremendous applause by the appreciative audience, which did not want to part with the artists. At the end of the concert, as an encore, the orchestra played the sparkling overture from Glinka's opera "Ruslan & Ludmila."
(St. Petersburg Times, Russia, June 30, 2010)

...An excellent 2002 Edition Lilac recording [of Purcell's "Dido & Aeneas"] featuring Predrag Gosta leading the Atlanta-based Chorus and Orchestra of New Trinity Baroque... This is a wonderfully colorful yet always musical performance. It is what Noorman attempted but failed in the Parrott recording. Gosta's ensemble is excellent... the playing is so sensitive and secure. The choral work is excellent, too, with a true sense of character projected by the nameless witches, sailors, and attendants. This self-produced recording... is definitely well worth acquiring – a true sleeper... That's nine recordings of Dido and Aeneas and I haven't even scratched the surface. Which one is best? ...If I was forced to take one recording to a desert island, it would be the one by Lieberson and McGegan – but I would be sure to have Tubb with Gosta and Graham with Haim in my iPod.
(Early Music America magazine, Fall 2009)

Raves for New Trinity Baroque... Crack Atlanta "period performance" ensemble will take you back a few centuries
The church was pretty well-packed for the afternoon's "Grand Tour"... Since NTB offers "historically informed" performances on original ancient instruments (or their replicas), authentic period sound and style are guaranteed. Directed by Predrag Gosta (also the harpsichordist) ...[NTB] began their musical tour with everybody's favorite early Italian master, Antonio Vivaldi, offering a scintillating rendition of one of his many concertos for strings... NTB treated us to a vibrant and fascinating "passacaglia" of [Handel], drawn from the "balletto" (dance) sequence of one of his many Italian-style operas. The final English selection was an intricate and lovely chaconne in four parts by Henry Purcell. If you dig Baroque music, you need to hear this terrific ensemble; they're one of America's premier period groups.
(Charleston City Paper, May 23, 2009)

Giacomo Carissimi (1605-1674) is best known for these two additions to the early oratorio genre ["Jephte" and "Jonas"], and so it is no surprise to find them recorded together on this release. What is a surprise, and a pleasant one at that, is to see that this version of 'Jonas' contains previously unrecorded material... New Trinity Baroque, performing beautifully as always on period instruments, accompanies the vocal parts simply and tastefully... the opening 'sinfonia', in its dramatic restraint and sense of ensemble, sets the tone for the rest of the recording. ... the instrumental portion of the recording is consistently delightful... Julia Matthews's rendition of the nameless daughter in "Jepthe" is particularly beautiful - definitely a highlight of the recording ..."Jephte" is strong in its dramatic presentation and in its musical precision... Well done.
(Early Music America magazine, Spring 2009)

New Trinity Baroque plays superbly... The program was all Antonio Vivaldi, one of the greatest Venetian composers who wrote many concertos for strings, and he must have had a group like this in mind when he put all those mountains of notes on paper... It was an hour of exuberant music played to a fair-thee-well by a group of musicians who obviously know what they're about.
(Charleston Post & Courier, May 25, 2008)

Viva Vivaldi! The Red Priest Soars In New Trinity Baroque’s Piccolo Debut
From the first delicate yet driving bounce of the String Concerto in C major, RV 114, a crisp wave of clarity washed over the crowd, enveloping the church with its bright, lithesome sonorities... [Predrag Gosta] received a much deserved standing ovation from a crowd that clearly wanted more...
(Charleston City Paper, May 24, 2008)

New Trinity Baroque’s 'St. John' Passion a Tour de Force...
...With his period-instrument band, Gosta made a strong case for the as-Bach-heard-it authenticity of this performance, with the nine soloists singing the 'choruses,' joined on the 'chorales' by the larger church organ and choir. ...this sounded better than Bach himself ever heard.
(The Atlanta Journal-Constitution, March 3, 2008)

New Trinity gives baroque new life...
New Trinity Baroque, Atlanta’s most established early music group... a first-time listener is struck by the earnestness and engagement of the players... Predrag Gosta, the group’s founder, conducted from the keyboards... his tempi were lively and sensitive. His witty and informed comments enlivened the evening.
(The Atlanta Journal-Constitution, September 3, 2007)

New Trinity Baroque, Atlanta's most adventurous period-instrument ensemble... sharply planned and wonderfully performed concert...
(The Atlanta Journal-Constitution, October 23, 2006)

New Trinity Baroque's Zesty Mozart... Baroque players do Mozart proud
In recent seasons, conductor-organist Predrag Gosta and the period-instrument band have delivered bracing, often illuminating readings from the century or two before Mozart was born..."Eine kleine Nachtmusik," a little evening serenade, got a balanced, zesty performance. As in the Divertimentos nos. 1 and 3 - also known as Salzburg symphonies - Mozart's tunefulness flows like water from a spring, inexhaustible and pure, yet a tiny twitch in the harmony can suggest a change in mood or undercurrent of tenderness, melancholy, even despair. Gosta and his players were alert to these nuances... in the fast movements they touched on the exuberance of a life that, seemingly, could never end. That was another benefit of New Trinity's Mozart. Where modern orchestras present music by the tragic genius who died too young... the early music context catches him in the full flower of life, a vital presence in the here and now.
(The Atlanta Journal-Constitution, September 4, 2006)

[Predrag Gosta and New Trinity Baroque] delivered the most satisfying concert of this classical holiday season — a model for how to do it...
(The Atlanta Journal-Constitution, December 19, 2005)

There's clean singing from the choir, and impeccable work from the 13-piece band (including five continuo players). Predrag Gosta shows good musical instincts, and, unlike some period performers, you feel he’s willing to depart from the strict letter of the score if they lead him that way...
(Opera Magazine, 1/2005)

New Trinity harpsichordist Predrag Gosta led a delightful show... The performance burst with energy and fun.
(The Atlanta Journal-Constitution, 10/2004)

New Trinity Baroque is one of Atlanta’s most prized ensembles. A group of ambitious free-lance musicians, led by organist Predrag Gosta, they play on period instruments and consistently deliver vital, artistically satisfying programs...
(The Atlanta Journal-Constitution, 4/2004)

New Trinity Baroque, led by harpsichordist Predrag Gosta, takes a renegade tact, dusting off obscure scores and... finding life in them.
(Gramophone, England, 4/2004)

Impassioned performances ... taut and loaded with nuance.
(The Atlanta Journal-Constitution, 11/2003)

Ensemble of consistent merit and refinement, boasting the highest artistic values.
Stylish playing of the orchestra … where supporting players more than carried their weight – a sign of a finely tuned group.
(The Atlanta Journal-Constitution, 9/2003)

Defined, gripping, thoughtful, full of temperament, fearless. The very first notes commanded attention.
(Concert Artists Guild, New York, 1/2003)

Skillfully, passionately performed… Exuberant and exactingly prepared…
(The Atlanta Journal-Constitution, 9/2002)

The music was hauntingly beautiful, and sensitively conducted and performed. The voices and choir sang so perfectly in tune that many harmonic overtones thrilled the ear.
(The Pipeline, Atlanta Recorder Society, 5/2002)

[A recording] can never substitute for a live performance of the quality we heard...
(Broadside, Atlanta Early Music Alliance, 4/2002)

All superlatives belong to Predrag Gosta, an artist of dynamic temperament and impeccable expression.
(Program 1, Television of Belgrade, Serbia, 7/1996)