Mónica de la Canal, a songwriter from Chascomús, Argentina, has launched a legal challenge asserting she is the true author of “Alma misionera,” the hymn recently performed during Pope Leo XIV’s historic visit to Argentina.
The dispute pits her 1981 claim against long-standing attributions to a Mexican seminarist.
The song, which resonated across the country during the Pope’s recent tour, became a focal point of public attention after Leo XIV sang it with the faithful at the Cottolengo Don Orione in Claypole on Monday, November 9, and again during a youth vigil in Palermo on Tuesday, November 10.
While the melody has been a staple in global religious circles for decades, its origins have now moved from parish halls into the courtroom, as reported by El País.
The Pope performed the piece alongside the choir at the Don Orione facility and later sang it alongside the faithful and the Archbishop of Buenos Aires, Jorge García Cuerva, during the youth vigil.
“Esto me atravesó profundamente.”
De la Canal also observed the Pope appearing moved at various points during his visit, noting that his message warrants personal reflection regardless of individual religious beliefs.
- Mónica de la Canal asserts she wrote the music and lyrics under the original title “Toma mi vida nueva” in 1981 at age 18.
- The work has been widely attributed to Mexican seminarist Enrique García Vélez, who allegedly composed it in 1993 for a missionary congress in Guanajuato.
- De la Canal has submitted a handwritten manuscript to judicial authorities as evidence that the composition predates the Mexican version by over a decade.
De la Canal’s journey with the song began within the Claretian missionary community in Chascomús. She explained that the composition was intended to mark the 50th anniversary of the order’s presence in her local parish, noting she developed a deep admiration for their sacrifice and humility. She stated in an interview with Radio Mitre:
“Esperamos esto 45 años.”
“Yo soy la autora, la hice en 1981, en Chascomús.”
De la Canal decided to formally register the song earlier this year, prior to learning of the Pope’s visit.
“La Justicia hará sus pericias,” De la Canal señaló sobre los procedimientos legales en curso.
| Claimant | Asserted Year of Creation | Context of Origin |
|---|---|---|
| Mónica de la Canal | 1981 | Claretian mission, Chascomús, Argentina |
| Enrique García Vélez | 1993 | National Missionary Congress, Guanajuato, Mexico |
In Argentina, the song’s profile was further elevated when performers Soledad and Natalia Pastorutti sang it at the Monumento de los Españoles.
As the case proceeds, the focus remains on the provenance of the original manuscript. De la Canal maintains that she has preserved the document through decades of personal moves, serving as the cornerstone of her claim. “Por fin, después de 45 años, podemos sacarlo a la luz y decir que es una canción argentina,” dijo a Telenoche.
The Argentine judiciary is now tasked with evaluating the validity of the competing claims. For now, the song continues to be sung by thousands, its legal status currently awaiting official determination.
