-Mina Oba, Atsuko Tatsuta, “La Bohème: New York Love Song”, Vogue Japan

-Atsuko Tatsuta, “Laine Rettmer”, Feature in Madame Figaro Japon


-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)


-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


-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


-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


-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


-Featured Exhibition, Art in New England Magazine

-Cate McQuaid, White Rush, Critics Pick: October, Boston Globe


-Cate McQuaid, “Expect to see more in the future from these up-and-coming artists”, The Boston Globe


-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


-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


-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