"Laine Rettmer’s stage direction balanced [the libretto's] abstruseness with doubled-down physicality, building tension with oblique, process-driven counterpoints: repeated, ritualized violence; dressing and undressing; building and demolition... It reinforced the emphasis on mood, a kind of Scandinavian art house cinema contemporaneous with the 1970s setting. In “Pedr Solis,” writing is a dangerous rite... realized with energy and commitment."

                                   -Guerrieri, Matthew, “Guerilla’s ‘Pedr Solis’ Full of Energy and Drama”, THE BOSTON GLOBE, MAY 17, 2015

-Wright, David, “Guerilla Opera Premiere delivers Bloland’s lit-crit work in blood-and-guts style”, THE BOSTON CLASSICAL REVIEW, May 16, 2015


-Shaw, Helen, “LoftOpera’s Lucrezia Borgia”, Divers Alarums, April 10, 2015

“Ms. Rettmer evokes a world in which sex, power and violence have always been indistinguishable… The preposterous plot… makes it an awkward fit for contemporary stagings like this one. In an effort to streamline one aspect of the story, Ms. Rettmer turned the traditional trouser role of Maffio Orsini (sung with an appealing amber mezzo by Melissa Collom) into a woman… a scintillating, frenzied performance.” 

                                 -da Fonseca-Wollheim, Corinna, "‘Lucrezia Borgia,’ With Flying Bottles of Beer and Poison”, THE NEW YORK TIMES, April 6, 2015

-Jorden, James, “The Met Can Learn a Beverage Lesson From LoftOpera”, THE NEW YORK OBSERVER, April 4, 2015


“The production itself was sublime, a real treat. The audience sat in two sections facing each other across stage platform that looked like a large dining table and ran the length of the hall… The second most important thing about any Barber after the singing is that the opera be funny. Although the cast at the Met was wonderful, the heavy handed-production, complete with unfunny cartoon anvils falling on people and outsized pumpkins (oranges?) being tossed about, was anything but. This production… was hysterical. Every joke that Rossini wrote landed, and the director Laine Rettmer directed the comedy with the lightest of touches despite the inherent slapstick of the libretto.”

                                                         -Rover, Glen, “My Brooklyn Bridge: The Party’s Not Over”, THE HUFFINGTON POST, December 29, 2014

-da Fonseca-Wollheim, Corinna, “The Funniest Classical Music Performances of 2014”, THE NEW YORK TIMES, December 11, 2014

“Ms. Rettmer also offered fresh takes on the story, including a hint at bondage during Bartolo’s Act II confrontation with Rosina. Later, when she believes she has been duped, Rosina grabs Figaro’s scissors and lops off her hair with numb determination. This Rosina doesn’t wait for her lover to reveal himself as Count Almaviva and rescue her: The woman he proposes to in the end is fully emancipated, no thanks to anyone else… This revival of the Met “Barber” delivers a heady fizz, but LoftOpera’s production calls for a resounding “cheers.”

                                      -da Fonseca-Wollheim, Corinna, “‘Il Barbiere di Siviglia’ From the Met and LoftOpera”, THE NEW YORK TIMES, November 20, 2014

-Jorden, James, “The Met’s Vivid ‘Lady Macbeth of Mtsensk’ Heralds Sweeping Changes for the Opera World”, NEW YORK OBSERVER, November 19, 2014


-Vitarelli, Claudia, “Loft Opera, Bohème” GREY MAGAZINE, March 21, 2014

-Meier, Allison, “Trading Stage for Warehouse, a New Organization Brings Opera to Brooklyn”, HYPERALLERGIC, March 12, 2014

-Theeboom, Sarah, “Three things I learned at LoftOpera, Brooklyn's classiest underground event”, TIMEOUT, March 3, 2014

“A performance that is as true and moving as any I can remember in 40 years of opera going….Among the bundle of smart ideas stage director Laine Rettmer had for the work was updating the original 1840s setting to modern-day Brooklyn. This was more than just a gimmick, since the bohemians onstage were virtually indistinguishable from the young, hipster-y audience. A particularly winning detail came at the end of the first act: As the young lovers walked off into the night, Mr. Jeremiah danced across the stage holding aloft a giant white balloon on which was projected a photograph of the moon. It was silly, but it was young, fresh and heartbreaking, which is exactly what La Bohème is meant to be.”

                                      -Jorden, James, “LoftOpera Triumphantly Transfers Puccini’s Bohemia to Brooklyn”, THE NEW YORK OBSERVER, February 25, 2014

-Littlefield, Roark, “Review: La Boheme at LoftOpera”, STAGEBUDDY, February 22, 2014

-Vitarelli, Claudia, “Loft Opera, Bohème –Part Two”, GREY MAGAZINE, February 7, 2014

-Vitarelli, Claudia, “Loft Opera, Bohème –Part One”, GREY MAGAZINE, February 4, 2014