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​“(…) Solomonoff’s motivations are diverse, but always significant. On the one hand, she reflects the history of South America, from indigenous rituals to tango; on the other, the German—and sensible—world, from Schoenberg to the Raunächten. Her music, in the words of Nicolaus A. Huber, “provides information about music.” But the reference to this music stems from a very specific historical and social context. Her explosive sound sculptures stand in relation to another reality, about which the composer reports as an auditory witness. In doing so, she extends a broad arc from the aesthetic to the political, from the abstract to the sensual, from the social to the personal.”

 

Graciela Paraskeváidis: "Niemand. Nur Spuren. Die argentinische Komponistin Natalia Solomonoff" , en MusikTexte nº 147, 2015, p.7​ https://musiktexte.de/MusikTexte-147

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“The mighty, mud-colored Paraná River flows broadly past Natalia Solomonoff's hometown of Rosario. And her music is similarly powerful and persistent; however, it has nothing to do with depicting a natural idyll. (…) The Argentinian composer, born in 1968, continues the impulses of the South American avant-garde in two respects: On the one hand, her compositions rely on the immediate sensual effect of sophisticated sound combinations, and on the other hand, she explicitly understands her compositional work as a witness to the times.”​

 

Thomas Beimel: ​Die argentinische Komponistin Natalia Solomonoff. Die Stille der abwesenden Vögel.  Programa monográfico emitido por la Deutschlandfunk el 16/4/2016