The Madrigalists' Choir is concerned with getting closer to the audience: Julietta Beas

Aranza Bustamante and Alejandro Mendoza

La Jornada Newspaper, Sunday, July 13, 2025, p. 5

Julietta Beas is driven by music, but also by the desire to make the arts more accessible in Mexico. Originally from Tepic, Nayarit, she found her path in singing at the age of 7, when she joined a local children's choir. A decade ago, she decided to move to Mexico City to continue her operatic singing training and seek new opportunities, as they were scarce in her home state.

Today, she is part of the Madrigalists' Choir of the National Institute of Fine Arts and Literature (Inbal), an ensemble with 87 years of history that has been instrumental in disseminating the choral repertoire in the country. From there, Julietta Beas sings works that span different periods and styles.

"It's one of the oldest groups in the country. We sing danzón, mambo, Brazilian music, Nigerian music... These are the most recent programs we've done. One is completely different from the previous one; I think that's the most fun part," he said in an interview with La Jornada.

Founded in 1938 by Luis Sandi, the ensemble seeks to bring choral art to schools of all levels, theaters, and concert halls. "We're not dedicated to grand symphonies, orchestral music, or opera. We offer an infinite variety (of musical genres) and are committed to ensuring that audiences approach us and enjoy our concerts," he says.

Currently, the Madrigalists Choir is made up of 30 people: 28 singers, an accompanying pianist, and its principal conductor, Carlos Aransay, but occasionally, depending on the piece, there are guest conductors.

Julietta Beas emphasizes that in the performances, especially those in which they sing in other languages, they make sure to include live subtitles and translations of the works in the programs.

Although they normally perform at the Palacio de Bellas Artes, they also visit nursing homes and schools and perform relaxed performances aimed at neurodivergent audiences. In doing so, they demonstrate that vocal music doesn't have to be exclusive to a specific segment of the population, but is a living expression that everyone can enjoy.

The challenges of making a living from art

For the performer, being part of the Madrigalists' Choir is a privilege she has earned with effort, discipline, and passion.

Although she acknowledges the challenges of making a living from art in a country where opportunities tend to be concentrated in places like Mexico City, she insists that it is possible—especially for children who study music or want to dedicate themselves to it—to make a name for themselves in this field. "I'm an artist who works full-time solely on art, and it's possible. You have to find the way and the means ," she says.

In addition to her work with the choir, she teaches children at Julietta y Enriqueto, a company she co-founded, and directs the Club España Choir, made up of senior citizens.

The development of her talent and vocal versatility have taught her that no musical genre is superior to another, and that access to quality art is a right, regardless of socioeconomic status. Citizens can take an interest in seeking out, consuming, and exercising this right .

Today, the choir will perform at the Palacio de Bellas Artes with the program "Unchained: African Heritage in Choral Music," a vibrant offering that includes spirituals, mambo, gospel, danzón, and Latin American and Nigerian rhythms.

The program will be directed by Rodrigo Cadet, who also designed the program. His proposal seeks to explore Blackness and African ancestry, as well as their transformative influence on the musical flavors of the American continent.

For Julietta Beas, it's essential to challenge the traditional concept of academic music in this type of performance, as it's not about the attire or the venue, but rather about breaking down barriers with the audience and enjoying art freely.