2023
-Mina Oba, Atsuko Tatsuta, “La Bohème: New York Love Song”, Vogue Japan
-Atsuko Tatsuta, “Laine Rettmer”, Feature in Madame Figaro Japon
2022
-Annette Markham, Andrea Merkx, Mary Elizabeth Luka, Laine Rettmer, "On Method”: building a community of practice for multimodal scholarly performance, Communicating Multi-modally: Research and Expressive Culture, American University of Paris, (May 26, 2022)
2021
-Ahi Choi, “Revived Classics”, Hong Kong Vogue Ken Smith, “The ex-Goldman Sachs banker who turned “La Boheme” into a movie”, Nikkei Asia
-Carlos Escueta, “La Bohème film, set in New York with Chinese leads, modernizes Puccini’s opera”, South China Morning Post
-Tara Sobti, “Film Adaptation of Giacomo Puccini’s La Bohème”, Tatler
-Ian Weise, “Stars Carry Our Waiting Into a Story”, Boston Musical Intelligencer
-Dana Gerber, “‘Ellis’ tells immigrant’s story”, The Boston Globe
-A.Z. Madonna, “Immigrant opera ‘ELLIS’ sends audiences on a profound journey”, The Boston Globe
-Sebastián Spreng, “Otra Vuelta de Tuerca’ y los Espectros de Vizcaya”, ArtBurst Miami
2020
-Amy Halliday and Rebekah E. Moore, “Artists Are Essential Workers: Considering the Role of Art in Public Health”, The Boston Art Review
-Gareth Cordery, “DreamStreaming From Guerrilla”, The Boston Musical Intelligencer
2019
-James Jordan, "Gods, Courtesans and Freezing Lofts: The Best of Opera of the 2010s", The New York Observer
-Cate McQuaid, "The Ticket: what’s happening in the local art world", The Boston Globe
-Amelia Mason, “5 Things To Do This Weekend From A Hip-Hop Declaration To Women Artists Shattering Ceilings", WBUR Artery
-Chloe DuBois, "TOP ART EVENTS, EXHIBITIONS AND SHOWS IMO”, Boston Hassle
-Callum John Blackmore, “First Lady Sings the Blues”, Parterre Box
-Michele Corriel, “Standby Snow: Chronicles of a Heatwave”, Mountain Journal
-“The Impossible She”, Opera News Magazine
2018
-Featured Exhibition, Art in New England Magazine
-Cate McQuaid, White Rush, Critics Pick: October, Boston Globe
2017
-Cate McQuaid, “Expect to see more in the future from these up-and-coming artists”, The Boston Globe
2016
-Katherine Cooper, “The Master’s Program at the School of the Museum of Fine Arts: Redefining Interdisciplinary in the Twenty-First Century”, Art Forum, Art and Education
-Corinna da Fonseca-Wollheim, “The Macbeths Were Just Grieving”, The New York Times
-David Salazar, “Macbeth: Ambience & Extraordinary Dramatic Goods”, Opera Wire
-Rebecca Dalzell “In unusual New York City venues the taste for classical music expands”, The Washington Post
-James Jordan, LoftOpera ‘Macbeth’ Chills Brooklyn While Met ‘Salome’ Stays Lukewarm”, The New York Observer
-Matthew Guerrieri, “Abundant ideas in John Aylward’s ‘Switch’”, Boston Globe
2015
-James Jordan “LoftOpera Giving the Met a Run for its Money”, The New York Observer
-Steff Yotka “Ohne Titel Costumes an Alt Opera in Brooklyn”, Vogue
-Anthony Tommasini, The Rape of Lucretia,’ a Woman Done In by Self-Blame”, The New York Times
-Matthew Guerrieri, “Guerilla’s ‘Pedr Solis’ Full of Energy and Drama”, Boston Globe
-David Wright, “Guerilla Opera Premiere delivers Bloland’s lit-crit work in blood-and-guts style”, The Boston Classical Review
-Corinna da Fonseca-Wollheim, "‘Lucrezia Borgia,’ With Flying Bottles of Beer and Poison”, The New York Times
-James Jorden, “The Met Can Learn a Beverage Lesson From LoftOpera”, The New York Observer
2014
-Glen Rover, “My Brooklyn Bridge: The Party’s Not Over”, The Huffington Post
-Corinna da Fonseca-Wollheim, “The Funniest Classical Music Performances of 2014”, The New York Times
-Corinna da Fonseca-Wollheim, “Il Barbiere di Siviglia’ From the Met and Loft Opera”, The New York Times
-James Jordan, “The Met’s Vivid ‘Lady Macbeth of Mtsensk’ Heralds Sweeping Changes for the Opera World”, New York Observer
-Claudia Vitarelli, “Loft Opera, Bohème”, Grey Magazine
-Allison Meier, “Trading Stage for Warehouse, a New Organization Brings Opera to Brooklyn”, Hyper-allergic
-James Jorden, “LoftOpera Triumphantly Transfers Puccini’s Bohemia to Brooklyn”, The New York Observer