Hi Paula, we’re so glad to be interviewing you for an AWFC Spotlight!  I’ll begin with what I always love to know from fellow composers: Where was your start?  How did you know that music was the journey you wanted to take?

Thank you for having me in the Spotlight series! I admire so many composers who have passed through here; it’s truly an honor to be featured. I started in music at age six because of a therapist’s recommendation; they suggested it could be a good ‘energetic space’ for me at the time. We had an upright piano at home, and once I started, I never stopped. I studied classical piano for 15 years before diving into popular styles like jazz and tango, which moved me intentionally toward writing and arranging.

At 16, I began studying music theory in Buenos Aires with Juan ‘Pollo’ Raffo, and later, composer Pedro Mercau introduced me to the world of media scoring. I hadn’t even heard of it as a career path, but I began a long journey with him to understand the possibilities of that vocation. It wasn’t until I started analyzing orchestral scores by legendary film composers that I felt truly understood. It was a pivotal moment. I finally saw a way to blend all my passions, from classical music to big band charts, all working for a medium that makes this music accessible to audiences worldwide. This became my motivation to look beyond Argentina, accept a scholarship to Berklee College of Music, and move to Boston in 2023.

You’ve said your passion is traditional and folk instrumentation. Please tell us more about how you embrace this in your sound.

Yes, folkloric music has always been an intrinsic part of my musical exposure. From an early age, I was in touch with South American folklore, and ever since I shifted from exclusively classical training to engaging with popular music, I’ve tried to learn more about traditional instrumentation, genres, and rhythms that have mostly been expressed through oral tradition. This deeply connects with my interest in anthropology and ethnography as fields of study. We are trained to analyze how music has evolved through what has been written down, which is, of course, one of our most valuable resources; but there is a whole other treasure in learning from how different cultures understand music and use it as a language itself. These worlds may seem very far from each other, but at the end of the day, it’s all about sensitivity and making music from a conscious perspective. I am as passionate about writing for the orchestra and exploring its infinite colors and possibilities as an ensemble, as I am about continuing to learn from musical roots around the world. I believe my personal sound is shaped by the combination of those two passions, and by collaborating with musicians from as many different backgrounds as possible.

You’ve been mentored by such amazing organizations as the SCL and Maestra Music. What are the most valuable things you’ve learned or taken away from these mentorship programs?

Yes! I felt truly honored and grateful to be selected for these programs. I was part of the SCL NY Mentorship Program from 2024 through 2025, and I’m currently in the Maestra mentorship, working alongside Sarah Brett-England. I come from a place where film scoring is not widely developed through formal education, so at the very beginning of my journey, everything I learned about this field came through professors and mentors. They were the ones who encouraged me to join these associations, beginning with the AWFC and SCL, even when I was still living in Argentina. 

I believe these organizations share a common mission: creating a worldwide community for composers. I couldn’t have taken the biggest steps in my career—from the 2022 NYU workshops to moving to Boston and now Los Angeles—without their resources and insights. Although structured differently, both programs have been equally meaningful. The SCL program provided a foundation in workflows and professional ethics, while Maestra offers a tailored one-on-one experience that has been incredibly valuable. I’m so grateful for the care these leaders bring to our professional growth.

You’ve written across many genres and mediums! (films, documentaries, music videos, theatre) Other than concert music, what is your favorite type of project to write for? 

In terms of media scoring, the projects that inspire me the most are documentaries, whether short-form or long-form. There’s something very unique about writing for them; the sense of closeness feels very different from fiction. In general, the entire production team is focused on telling a real and tangible story in the most authentic way possible. Rather than experiencing the storyline as an interpretation of reality, the creative process becomes about choosing the perspective from which that reality will be told.

I believe music plays a fundamental role in shaping that perspective. The process feels less about showcasing compositional resources and more about making the soundscape feel naturally embedded in that world—not only supporting the story, but helping to shape the contour of the narration itself. Of course, there are many ways to approach these scores. Some composers incorporate musical elements that relate directly to the cultural or geographical context, while others choose a more neutral approach. But every time I research and immerse myself in this kind of project, I feel a strong social component that I deeply value and that continues to inspire me to write.

What is your mission as a composer? What do you most hope to share with the music community?

I don’t know if I would say I have a “mission”, but I feel strongly about artists maintaining social awareness; making art is always a political act. I try to bring that consciousness into every step of my process. I also believe deeply in countries investing in their cultural development, and in artists finding strength through mutual support. I prioritize this by creating collaborative environments where everyone feels valued and heard.

Personally, I will be learning about musical traditions for the rest of my life. I’m excited to connect with musicians globally to grow through those exchanges. Ultimately, I hope to bring these tools back to Argentina to expand opportunities in Latin America—especially in film scoring—from a perspective that is truly our own, rather than centered solely on U.S. or European traditions.

It’s been such a pleasure, Paula, and we can’t wait to hear what you do next!  If you can tell us, what’s an upcoming project or highlight you’re excited about?  

Thank you once again for having me and for such thoughtful questions. It’s been a pleasure to share a little bit about my journey. One of the projects I’ve been working on over the past few months that I’m especially excited about is an upcoming concert and recording session with a non-profit organization I collaborate with called Multicultural Music Group. For the organization’s 30th anniversary, I was in charge of orchestrating several pieces that are part of MMG’s historic repertoire. Their mission has always been to expand the symphonic repertoire in New York City by incorporating Afro-Latin styles, which is a mission I deeply connect with. In addition to re-orchestrating these works, I’ll also be conducting them alongside some of the incredible musicians in New York City, so it’s going to be a truly special experience. I’m also thrilled that one of the Argentine films I worked on last year as a score producer and composer alongside Gabriel Chwojnik – Jota Urondo, An Impertinent Chef – will soon be screening in theaters in Buenos Aires. The documentary premiered at the 2025 San Sebastián Film Festival in the Culinary Zinema category, so I’m especially excited that it will now be available for audiences back home.

Interview by Carolyn Koch

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