SELECTED PRESS
2025
-Mark Swed, “In L.A., Smaller-Scale Operas Go Big on the Issues of the Day”, Los Angeles Times
-Jim Farber, “At LA Opera, Adoration Is Timely and Emotionally Affecting”, San Francisco Classical Voice
-Mark Feeney, “Practicing What They Teach: Faculty Work on Display at the Photographic Resource Center”, The Boston Globe
-Laura Stanfield Prichard, “Activating Identity Opera”, The Boston Musical Intelligencer
-David Salazar, “John Aylward’s Oblivion Wins Best Musical Film at the Cannes World Film Festival”, OperaWire
2024
-Heidi Waleson, “Prototype Festival: Originality in Opera”, The Wall Street Journal
-Martha Schwendener, “What to See in N.Y.C. Galleries in February”, The New York Times
-The Paris Review, “A Dollhouse-Size Hologram”, The Paris Review
-Gabrielle Ferrari, “As in Years Past, New York’s Prototype Festival Delivers Operatic Evolution”, Observer
-Kurt Gottschalk, “Atom Egoyan’s Movie Adoration Is Revived as an Opera”, Bachtrack
-Max Keller, “Venite Adoremus”, Parterre Box
-Caleb Levy, “Dissolving the Puzzle”, CritLab Review
-Scott Barnes, “New York: Lysistrata,” Opera News, June 2024 (print)
2023
-Atsuko Tatsuta and Mina Oba, “オペラ最高傑作を映画化した青春群像劇『ラ・ボエーム ニューヨーク愛の歌』。コロナ禍のNYで生まれた奇跡のミュージカル”, Vogue Japan
-Atsuko Tatsuta, “Laine Rettmer,” Madame Figaro Japon (print)
-Oussama Zahr, “Il Tabarro”, The New Yorker
-George Grella, “On Site Opera Covers the Waterfront with Puccini’s Il Tabarro”, New York Classical Review
-Alex Kitnick, “No Resolution: Video Art in and Around the Contemporary”, Artforum
-Andreas Petrossiants, “What’s in the Box?: David Levine on Dissolution”, Screen Slate
2022
-Aaron Peck, “Jeu de Paume Looks at How Images Mediate Our Experience of the World”, Frieze
2021
-Ahi Choi, “Revived Classics”, Vogue Hong Kong
-Ken Smith, “The Ex-Goldman Sachs Banker Who Turned La Bohème into a Movie”, Nikkei Asia
-Carlos Escueta, “La Bohème Film, Set in New York with Chinese Leads, Modernises Puccini’s Opera”, South China Morning Post
-A. Z. Madonna, “Immigrant Opera Ellis Sends Audiences on a Profound Journey”, The Boston Globe
2020
-Amy Halliday and Rebekah E. Moore, “Artists Are Essential Workers: Considering the Role of Art in Public Health”, Boston Art Review
-Gareth Cordery, “DreamStreaming from Guerilla”, The Boston Musical Intelligencer
-Phoebe Suzanne Eley, “Stage to Sofa, Episode Fifteen: Laine Rettmer”, video interview
2019
-James Jorden, “Gods, Courtesans and Freezing Lofts: The Best of Opera of the 2010s”, Observer
-Anne E. Johnson, “The Impossible She: Lesbian Romance Tells Moving Story”, Classical Voice North America
-Cate McQuaid, “The Ticket: What’s Happening in the Local Arts World”, The Boston Globe
2018
-Roberta Smith, Holland Cotter, and Jason Farago, “The Best Art of 2018”, The New York Times
-Alex Bienstock, “Emotions for Hire: David Levine at the Brooklyn Museum”, Art in America
-Melissa Ragain, “Artists Reflect on Water Scarcity in a Gentrifying Montana Town”, Hyperallergic
-Saul Anton, “David Levine Brings the Drama of a Political Antihero to the Brooklyn Museum”, Cultured
2017
-Rebecca Dalzell, “In Unusual New York City Venues, Such as Restaurants, the Taste for Classical Music Expands”, The Washington Post
-“Laine Rettmer”, LensCulture
-Cate McQuaid, “Expect to See More in the Future from These Up-and-Coming Artists”, The Boston Globe
2016
-Corinna da Fonseca-Wollheim, “The Macbeths Were Just Grieving”, The New York Times
-“Macbeth, MAST Factory, Brooklyn Naval Yard, New York”, Financial Times
-Matthew Guerrieri, “Abundant Ideas in John Aylward’s Switch”, The Boston Globe
-David Salazar, “LoftOpera 2016 Review, Macbeth: Ambience & Extraordinary Dramatic Goods Make This a Party Worth Attending”, OperaWire
2015
-Steff Yotka, “Ohne Titel Costumes an Alt Opera in Brooklyn”, Vogue
-Anthony Tommasini, “Review: In The Rape of Lucretia, a Woman Done In by Self-Blame”, The New York Times
-Corinna da Fonseca-Wollheim, “Review: LoftOpera’s Lucrezia Borgia, with Flying Bottles of Beer and Poison”, The New York Times
-“LoftOpera: Lucrezia Borgia”, The New Yorker
-James Jorden, “LoftOpera Giving the Met a Run for Its Money, Plus Opera Gift Suggestions!”, Observer
-Matthew Guerrieri, “Guerilla’s Pedr Solis Full of Energy and Drama”, The Boston Globe
2014
-Soraya McDonald, “No Big Wigs in Brooklyn’s LoftOpera, and That’s the Point”, The Washington Post
-Corinna da Fonseca-Wollheim, “The Funniest Classical Music Performances of 2014”, The New York Times
-Corinna da Fonseca-Wollheim, “A Figaro on a Big Stage, Another in Your Lap”, The New York Times
-Allison Meier, “Trading Stage for Warehouse, a New Organization Brings Opera to Brooklyn”, Hyperallergic
-James Jorden, “La Bohème Goes Back to 1896: LoftOpera Triumphantly Transfers Puccini’s Bohemia to Brooklyn”, Observer