In 1989, she wrote Nadja: On My Way, an autobiography written for children. In May 1999 she received an honorary Master of Musical Arts degree from New Mexico State University, the university's first honorary degree. She is also the subject of Paola di Florio's documentary Speaking in Strings, which was nominated for an Academy Award in 2000.[1]
In 1994, Salerno-Sonnenberg badly injured her left little finger while chopping onions as she prepared Christmas dinner for friends and family. Her fingertip was surgically reattached and took six months to heal. During that time, she refingered compositions so that she could play using only three fingers and continued to perform.[1][7][8]
After her finger healed, she became depressed. In 1995, she attempted suicide but the gun failed to fire.[7]
In 2003, Salerno-Sonnenberg performed the world premiere of Sérgio Assad's Triple Concerto, a work for violin, two guitars and orchestra with the Assad brothers and the St. Paul Chamber Orchestra in St. Paul, Minnesota.[7] The same work, called "Originis", was recorded in 2009 with Salerno-Sonnenberg, the Assads, and the Orquestra Sinfônica do Estado de São Paulo.[9]
In 2008, Salerno-Sonnenberg was selected as the Music Director of the New Century Chamber Orchestra under a three-year contract. After completing her first season with the orchestra, Salerno-Sonnenberg said: "I also have a solo career that I have to maintain—and I do. And I have a record label. I have three full-time jobs, and I don't know how long I can keep up this pace."[8]
In 2013 it was reported that American composer Samuel Jones was writing a violin concerto for Salerno-Sonnenberg.[11]
In 2015, Salerno-Sonnenberg joined Loyola University New Orleans as a Resident Artist.[12]
In 2006, The Washington Post characterized Salerno-Sonnenberg as a "fiercely original, deeply emotive violinist". Over the 25 years she had already been concertizing, "her playing, always mercurial and exciting but occasionally a little scattershot, has become positively reliable, both musically and technically, without losing any of the wild electricity that always set her apart." The only criticism the reviewer made of her interpretation was of "her characteristic tendency to break up the melodic line into fragments".[18]
Some reviewers criticized the clothes she wore during performances, her facial "grimaces", and her "almost abandoned disregard". Critic Martin Bernheimer said that Salerno-Sonnenberg was "battling the composer rather than interpreting the composer."[1] Another critic disagreed: "I don't care what she wears or how she moves as long as she keeps playing with such passionate intelligence."[19] Fans have found her performances "exhilarating". In 2004, Salerno-Sonnenberg said she answered "hundreds of fan letters a year" on her website.[1]
In later years, some critics who had originally been irritated by Salerno-Sonnenberg's on-stage mannerisms said they "no longer bother" them. While still complaining about some of her interpretations, one critic nonetheless called her a technical virtuoso.[13]
