The New York Times
2017.05.24, Anthony TommasiniThe devotion of [Heartbeat Opera] to Puccini’s music was evident in the sensitive arrangement of the score (by the co-music director Daniel Schlosberg), richly detailed yet delicate... I found the jazz-infused arrangement very insightful into the colorings and seductive allure of Bizet’s score. [Schlosberg] also played a mean accordion (archive)
2017.05.17, Mary von Aue: In Mr. Schlosberg’s arrangement of the score for an intimate ensemble... the haunting melody of the “humming chorus” gives way to a dream sequence, assembled from scenes of Puccini’s Act I. (archive

2017.05.23, David Patrick Stearns: ...if there was a miracle here, it was the orchestral adaptation. smart was was the use of the string ensemble in this Daniel Schlosberg adaptation (archive)

New Yorker
2017.05.31, Russell Platt: The orchestra is cut down to an arrangement (by the composer Daniel Schlosberg) for harp and string quintet that recalls the mellifluous elegance of the original (archive
2016.04.04, Alex Ross: Schlosberg’s scoring—whistling tones of bowed vibraphone and cymbals, the harplike sound of strummed piano strings, the slide of a shot glass on an electric guitar—put a modernist frame around the action, although the substance of Donizetti’s score came through. (archive)

The Wall Street Journal
2016.03.14, Heidi Waleson: ...ingenius rescoring (archive)
2015.04.01, Heidi Waleson: ...witty five-instrument arrangement (archive)

Oregon Arts Watch
2017.08.04, Matthew Andrews: ...the extra creepy, cosmic-horrific, mind-breaking Twin Peaks... manifest in ways the original could never quite delve into deeply enough. imaginary episode of Twin Peaks directed by a skilled young composer... everything feels darker, slower, stranger, a little more mysterious and a lot more disturbing. (archive)