PRESS REVIEWS
(click here to download selected reviews in PDF format)
"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)
"...simply dazzling..."
(The Atlanta Journal-Constitution, February 14, 2006)
"...no music ensemble in Atlanta creates so much excitement. No group seems as vital.
...[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)
[Charpentier's "Messe de minuit" and Handel's Organ Concerti CD]
"The quality of the recording was excellent. New Trinity Baroque is faultless in interpretation, and Brad Hughley is an enormously talented organist. The choir was a perfect compliment."
(Amazon.com, August 2005)
[Purcell's "Dido & Aeneas" CD]
" ... 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, www.opera.co.uk,
Vol. 56, No. 1, January 2005)
"...On Saturday, New Trinity Baroque, another ambitious local ensemble, presented Pergolesi’s comic opera of 1733, 'The Maid Mistress."
"...Predrag Gosta led a delightful show, starting with Jason Hardy singing Uberto, the rich old geezer..."
"...The performance burst with energy and fun."
(The Atlanta Journal-Constitution,
October 26, 2004)
[Purcell's "Dido & Aeneas" CD ]
"...Although Dido itself may be a rarity, recordings of it are not. One might wonder what this latest, under the direction of Predrag Gosta, has to add to the discourse. The answer is simple: Evelyn Tubb's dual roles of Dido and the Sorceress ... one need only recall Tubb's earlier recording The Mad Lover to anticipate a briliant characterization.
...Tubb sings splendid Dido, but it is as the Sorceress that she truly makes this recording stand out from other versions. This strategy adds new verve and richness to a work that often seems only a vehicle for sopranos to record 'Dido's Lament'."
(Early Music America
magazine, Fall 2004)
[Pergolesi's "Stabat Mater"]
"New Trinity Baroque is one of Atlanta's most prized ensembles. A group of ambitious free-lance musicians, led by Predrag Gosta, they play on period instruments and consistently deliver vital, artistically satisfying programs."
"...[singers'] blended voices, with the infectious enthusiasm of the New Trinity musicians, made for a sublime mix."
(The Atlanta Journal-Constitution, April 5, 2004)
"... New Trinity Baroque, led by conductor Predrag Gosta, takes a renegade tact, dusting off obscure scores and, more often than not, finding life in them."
"... for the money... New Trinity makes for a more exciting evening."
(Gramophone, April 2004)
["L'Incoronazione di Poppea" by Claudio Monteverdi]
"Baroque opera delivers compelling music, cast"
"... marvelous performances by the New Trinity Baroque."
"... 'Poppea' is unique and engaging."
(Lexington Herald-Leader,
March 27, 2004)
"Concerts span the musical universe"
"... the ultra-refinded elegance of Baroque cantatas..."
"... impassioned performances..."
"... taut and loaded with nuance."
(The Atlanta Journal-Constitution,
November 17, 2003)
"...'Dido and Aeneas' was skillfully, passionately performed..."
"... exuberant and exactingly prepared..."
"Never mind that the opera was nearly semi-staged - no costumes, just a little acting, and the church altar as the only set. This group thrives on ideology. With gut-stringed instruments, the musicians go for lean, slightly pungent timbres, emphasizing the music's skeleton and muscle, with little fat."
"... New Trinity Baroque is an ensemble worth following."
(The Atlanta Journal-Constitution,
September 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 ..."
"... Both performances received a standing ovation. Mr. Gosta is to be congratulated for bringing this music and these performers together ..."
(The Pipeline, Atlanta Recorder Society,
2002)
"Mustering what in the early music world ranks as mighty forces, Predrag Gosta and his New Trinity Baroque ensemble presented the Vespers of the Blessed Virgin (1610) by Claudio Monteverdi ..."
"... The ensemble of singers and instrumentalists was precise and well tuned ..."
"... the 'amen' at the end of a psalm often had a gratifying sense of growth and resolution. This may be traced directly to conducting ..."
"... during the 'amen' [Mr. Gosta] often called for and got a lovely effect ..."
"... [a recording] can never substitute for a live performance of the quaility we heard from New Trinity Baroque."
(Broadside, Atlanta, 2002)
"...the best in the world... that this is the truth was proved by the members of the Ensemble of the Studio for Early Music..."
(Vecernje Novosti Daily, Belgrade, Yugoslavia,
August 2, 1998)
"...Refreshing music, excellent singing of youth, ours and English soloists, joyful play, movements of youth on the scene, have given back some values to our audience who has been deprived of such for a long time"
(Politika Daily , Belgrade,
May 22, 1996)
Triumph of the New Generation!
(Stari Grad, Belgrade,
November 1, 1995)
Oasis of Harmony and Beauty:
"... the Ensemble has with great skill and enthusiasm discovered forgotten pages of Renaissance and Baroque masters. All the compositions were sung in their original languages, from Latin to Middle English, and carried out without any vocal constraint but with precision and clear intonation, in mutual penetration, in listening and respect for the passages of the other performers. They are mainly young people who love and enjoy making music together..."
"...a pleasant love harmony fulfilled one hour music-making of this ensemble"
"...In even greater sonic tension on and off the stage, such cultivated tonal sculpture, which did not often drift far from mezzopiano, of rather small range and not sharp rhythmic patterns - the music offered a real oasis of harmony and beauty."
(Nasa Borba Daily, Belgrade,
April 11, 1995)
