Born in 1972 in Mexico City, she is a Mexican–Austrian composer, sound artist, recorder player, improviser and magnetophone tape weaver. She is a three-time recipient of the Austrian Federal Ministry for Arts and Culture State Scholarship (2011, 2016, 2021) and received the Outstanding Artist Award from the Austrian State in 2014. She teaches at the University of Music and Performing Arts in Vienna, is the founding curator of the Neue Musik in St. Ruprecht concert series in Vienna, and has been a member of Mexico’s Sistema Nacional de Creadores de Arte since 2019.

Castelló has collaborated with a wide range of international ensembles and orchestras, as well as with leading figures in experimental, electroacoustic, and contemporary music, along with notable contributors to the broader art world. Her work has been featured at major festivals in Europe and the Americas.

Among her major works are Red Rooms (2022), a visceral music theatre piece premiered at Schauspielhaus Wien during Wien Modern; Star Washers (2022), for orchestra and electronics commissioned by the Baltimore Symphony Orchestra; Catorce Reflexiones sobre el Fin (2019),a magnetic sound installation for MACO Oaxaca; and Sonic Blue (2013), for sub-contrabass Paetzold recorder and electronics. Her debut album Bestiario (2011) captures abstract narratives woven from personal memories. Her work stems from aural recollections, field recordings, and “sons trouvés” composed beyond the immediately perceptible: evoking haptics, colours, presences, and scents exhaled by the narrative itself. These sonic fragments are often distorted beyond recognition and woven into intricate dialogues with quotations from Renaissance and Baroque composers, echoes of Castelló’s earlier pieces, and with voices recorded specifically for the compositions. These recordings are re-layered across formats—from lo to hi-fi, analogue and digital—composed, deconstructed, and recomposed into polyphonic constellations.

Selected works (from 2009): Begegnungen for subcontrabass recorder, electronics and tape (2009), Palomilla for saxophone quartet and 10portable tape recorders (2009), Lamento for soprano, baroque harp, baroque guitar and tape recorder (2010), Adela Aurita, electroacoustic radio feature (2011), La lenteur for three female voices and two cellos (2011), Flor y Cronopio for recorders, clarinets and objects (two players) (2011), A Journey Into the Mind of P.P. for piano, Paetzold recorders and electronics (collective work, 2011), Elektro Anbeterin for one performer, four radios, 17 cassette players, toy and light sources (2012), Mein Schlaf ist ins Wasser gegangen for soprano, mezzo-soprano, tenor, baritone, bass, crotales and stones (2012), Popocatepetl for bassoon, clarinet and objects (2012), Principio sin título for piano trio(2013), Sonic Blue for subcontrabass Paetzold recorders, playback and electronics (2013), Severina <oder das Seeungeheuer> for seven instruments (2015), Adela Aurita II for subcontrabass recorder, 15 radios and two cassette players (2015), La sonrisa de tamina for violin, viola, cello, double bass and surprises (2015), Trois chansons tristes for four voices and chamber ensemble with percussion (2016), Cuacochi I for nine players or nine groups of players of any wind instruments plus at least nine radios and three tubular bells (2016), MU//ET/for eight cassettes, eight players and eight loudspeakers (2016), Lepidóptero 1 & II for fixed media (2016–17), Hidden Bugs for recorder orchestra and electronics (2017), Cuacochi II for fixed media (2017), Heterocera for string quartet and ten cassette players (2017), Nolávoa for string quartet and electronics (2017), Isla de hornos for small trashy instruments, four players and stereo file (2017), F. Firefly (Nothing) for fixed media (2018), F.W. (Fantastische Wesen) for recorder orchestra and electronics (2018), One for Buchla modular synthesizer, tapes, radios and sampler (2018), Bärtierchen (Tardigrada) for recorders and water (with Amelie Knapp, 2018–19), Catorce Reflexiones sobre el Fin, sound installation (2019), Réflexions sur le drame / Opera II for fixed media (2019), Bodies of Noise for two pianos, two percussion, cassette players, radios and electronics (2019), DE*Civilize Me! for Paetzold recorders, radios, cassette players, electronics and nine human bodies (2019),La ville résonante for recorder orchestra and tape (2020), Vivid Red for three renaissance recorders and tapes 2020), Ciento dos espacios (Red Rooms 4) for bass flute, tenor saxophone, viola, contrabass, electric guitar and four small radios (2020), Star Washers for orchestra and electronics (2020–21), Tres texturas arcánidas for electric guitar, viola da gamba, recorder, percussion sets, cassette player and electronic sounds (2021), Red Elegy (in five parts) for viola and electronics (2021), Red Rooms, musical theatre play in seven episodes for voices, chamber ensemble, recorder trio, revox tape machine, radios, electronics and cassette players (2018–22), En attendant (Intermedio), electroacoustic work for fixed media (2023), Abismo, electroacoustic work for fixed media (2023), Frogrian for contrabass Paetzold recorder in F and fixed media (2023), M:A:D:E:R:A for six instruments (2023), Espazio 3 /// Corazón for five voices and accordion (2024), Espazio 7 for flute, bass clarinet in B, percussion, electric organ, violin, cello and electronics (2024), Espazio 11 for violin, piano, and electronics (2024), Espazio 16/1 (étude sur la lettre P) for viola, e-organ, voices and electronics (2024), Juglariceando for flute, string quartet and electronics (2025).