In her new show, the erotic nature goes hand by hand with satiric observation. Hilarious through out, it let us be insiders of the fascinating and at times suffocating environment of the tango professionals. Sensuality, which is the vital element of the realities of those professionals, impregnates the show. Excellent is the right adjective for the work of the choreographer Valeria Solomonoff, as well as for the rest of the cast. El Especial, Escenario Neoyorquino Edición 1235 reviewed by Fernando Campos, October 27, 2009
Tango Por Ellos, presents a solid tango performance. Intense, passionate and sexy it’s everything the tango should be. The stories center on the usual theme, lust, rejection, and the sharp little battles that make up a relationship (especially Argentinian ones.) Throw in some competition and jealousy for good measure and the recipe is complete. It is a sound example of an enjoyable tango performance. Eye on Dance and the Arts, reviewed by J. Gonthier, October 27, 2009
"Plácido and His Sexy Latina Ladies" could have been the alternate title. Six talented women were scheduled to sing, dance and make music alongside Domingo. Several dancers added visual intrigue throughout the 3 1/2-hour program. Valeria Solomonoff flashed bare legs at impossible angles during the tangos. The Washington Post, reviewed by Rebecca J. Ritzel, May 4, 2009
With a significant assist from the evening’s co-star, the beautiful and brilliant Argentine soprano Virginia Tola, along with the passionate Spanish dancer Nuria Pomares, sexy tango dance team of Valeria Solomonoff and Orlando Farias, the WNO Orchestra, and others, Mr. Domingo’s program blended Hispanic-flavored opera arias, zarzuela showpieces, and Hipanic folk and pop tunes into a world-music celebration of his own Spanish heritage. Highlights? Mr. Domingo and Miss Tola, of course. Also, the marvelous dancing of Miss Pomares, Miss Solomonoff, and Mr. Farias. The Washington Times, reviewed by T.L. Ponick, May 4, 2009
Stage presence is innate: Either you have it or you don't. Valeria Solomonoff has it. The Washington Post, review by Pamela Squires, November 1, 2003
BRILLANT “TANGO INTIMO”
Those who credit Repertorio Espanol with being an oasis of scenic arts in East Manhattan, have been well rewarded by the recent premier of “Tango Intimo”, a brilliant show that will remain on stage with added dates through February 24th. What Repertorio offers through the creative magic of the Argentine Valeria Solomonoff and the six virtuoso dancers is an impressive choreographic prism that explores to the max the tango potential within theatrical context as much as its natural fusion with other musical forms.
Essentially, “Tango Intimo” is a mosaic that touches the fiber of visual pleasure. It fully offers the corporal eloquence that can only be achieved when each movement responds to an aesthetic necessity. This seams to be the way Mrs. Solomonoff sees it, but her vision even goes beyond that: Sensuality emanates with each musical cadence, in the different dimensions of a dramatic, passionate fever that at times is impregnated with humor and wit. El Especial Escenario Neoyorquino, review by Fernando Campos, February 20, 2008
About Solomonoff choreography in "Happily Mad" (Los De Contento): And the dance hidden in their previous movements becomes a profoundly sensuous tango that makes you want to leap from your seat and join it. The New York Times, review by D.J. Bruckner, July 24, 2002
About Solomonoff choreography and corporal coaching in "Dona Flor and her two husbands" (Dona Flor y sus dos maridos): ...Excelent the scenary, the montage, the music, the lights, the choreography and corporal coaching of the dancer Valeria Solomonoff. El Diario, Art and Culture, review by Juan F. Merino, April 4th, 2008
Six charismatic young international dancers. provide a sizzling between-scenes tango sextet, elaborating on the couple's developing relationship. Acclaimed Argentinian choreographer-dancer Valeria Solomonoff mixes classical and modern tango with elements of modern dance. There's even a stunning number with brooms. Backstage, review by Nancy Ellen Shore,
April 26th, 2007
"When Folkways point the way to forms of innovation in Dance"
Most memorable was the four woman group called TangoMujer... The elegant young performers, trained in modern dance, focused on the tango itself and what it could be used to say, rather than on the process of updating or personalizing the form....And perhaps that reanimation can add luster to the past in ways self-conscious proponents of the 'new' may not imagine. After TangoMujer had performed, traditional tango looked even richer and more colorful." The New York Times, review by Jennifer Dunning, April 14, 1997
But TangoMujer was unusually successful at making something new of an old dance, focusing with intelligence and affection on the tango rather than the updating and the updaters. Modern dance trained, the women succeeded in weaving the two forms with wit and imagination. The New York Times, review by Jennifer Dunning, September 9, 1996
[Solomonoff] looked just right on her 'Shenk Mir Maria,' filling the odd slight solo, danced to a corny old tango song, with unexpected color and texture. The New York Times, review by Jennifer Dunning, September 9, 1996
Argentine dancer Valeria Solomonoff, one of the city's best instructors. Hot Picks. New York Post, February 2nd, 2005
About Solomonoff choreography in "Happily Mad" (Los De Contento): ...and the couple gets up and dances to the music from Buenos Aires with a brilliant choreography from Valeria Solomonoff. De Norte a Sur, review by Nilda Tapia, August 2002
TangoMujer drove the men loco with a female-on-female killer tango that nearly torched the tent. The Pittsburgh Tribune-Review, review by Jean Horne June, 26, 2000
But Tango Mujer, all female troupe of five dancers, broke down stereotypical barriers at their performance...The tango vocabulary provided much of the action - gleeful, sensual, disturbing, angry. It was supplemented by theatrical gesture, something at which the TangoMujer women surprisingly excelled. By the end, the passion was there regardless of the old or new tradition, as it should. Pittsburgh Post-Gazette, review by Jane Vranish. April 14, 2001
Tango Mujer's work is visionary, courageous, ingenious and marvelously entertaining.In her sensuous solo "Maria" modern-dance trained Argentine Valeria Solomonoff made the company's tradition-upending style literal and gave a new dimension to the wallflower archetype. Gifted both dramatically and acrobatically, Valeria danced longingly, and often upside-down, against the stage's bare brick rear, with a spotlight projecting her shadow next to her. Tango is often practiced against a wall, but handstand 'ochos' are a must-see. Daily Camera, review by Daniel Gesmer, Colorado, July 24, 1999
The dancers are all superbly trained in various dance forms. Solomonoff is the vamp: tall, sleek and sexy.
...choreography was by turns sophisticated, slapstick and hyper-romantic. Most impressive was a Solomonoff's solo...
Highlights included Solomonoff's seductive manipulation of several strands of pearls, itself, worth the price of admission. The Philadelphia City Paper, reviewed by Nancy Heller. November 2-9, 2000
The five dancers [of Tango Mujer] nimbly brushed aside all the stereotypes we Americans have formed about this Argentine dance.
Every imaginable and unimaginable twist and turn on the basic start-stop rhythm of this sensual dance is explored. The passion, humor, llonging, loving and hating of one person for the other becomes the choreographic material for a procession of intriguing works...The five (dancers) emerge immediately as distinct and distinctive personalities.
They gave a demonstration of first-rate dancing. Consider Somonoff's upside-down solo against the rear wall of the theater, creating a brilliant pas de deux with her own shadow. Denver Rocky Mountain News, review by Marc Shulgold.
The audience loved Tango Mujer. Particularly praised was the respectful but still creative way of using the tango traditions. Berliner Morgen Post, June, 20, 1998
Another important element include the bona fide tango dancers, Valeria Solmonoff and Cesar Coelho. They executed their tangos with aplomb, giving motion to the enticing rhythms from the orchestra. The Advocate, Review by Jerome R. Sehulster. March 21st, 2003
The tradition is the starting point for the choreography, which then finds a smooth transition to modern dance: In doing so they (TangoMujer) break from the tight embrace of the couple relationship and use the tango trained sensibility in a wider network of relations. The solo of the Argentinean Valeria Solomonoff shows how the vocabulary of tango steps can be translated into a very different language. Die Tageszeitung, Berlin. Review by Katrin B. Mueller, June, 1998
A solo for Valeria Solomonoff best employed movement as an extension of character. The Dance Insider, by Chris Dohse, 2000