Magos Herrera is a force of nature who draws her vitality from jazz and, throughout a career filled with memorable moments, never ceases to surprise us with new projects. Although she has been based in New York for several years, the Mexican artist has not forgotten her roots.
Magos recently released the documentary Con Alma, accompanied by her collaborator on this audio production, Paola Prestini, and producer Paola Herrera. All with the support of UN Women Mexico.
Magos Herrera, a Mexican singer in NYC. Photo: Courtesy of the artist.
The opera on which the documentary was based, *Primero Sueño* —based on the poem of the same name by Sor Juana Inés de La Cruz—was a project that has certainly posed a challenge for the artist.
Magos Herrera and the Legacy of Sor Juana
The project, which had several successful premieres last year, benefited from the guidance of two prominent advisors: writers Alberto Ruy Sánchez and Sara Pott Herrera, true experts on the figure of Sor Juana. *Primero Sueño* was presented in venues outside the traditional jazz and opera circles. For example, in the Zócalo of the city of Puebla and in the atrium of the cathedral in the same province; or in the Mexican Chamber of Deputies, with commemorative murals dedicated to the struggle of women in Mexican history serving as a backdrop.
“As a Mexican woman, it was a huge challenge to approach the play from the perspective of a figure of Sor Juana’s stature and what she represents as a thinker, a writer, and a feminist”—Magos Herrera
In addition to working on a new album set for release in 2027, Magos’ short-term plans include taking Primero Sueño to Spain. “It’s thanks to the fact that they published and believed in Sor Juana there that we know her!” she says . “I think there’s a strong connection, and it’s a necessary conversation, even if it’s more than 300 years later. It’s important because it shapes the new Mexican identity between Spain and the world,” she asserts.
Magos Herrera and Her Life in New York
“Living in New York is a form of exile—self-imposed, but exile nonetheless,” she acknowledges. “After all, I’m Mexican; I love my country, and I’m constantly reminded that I’m very Latin American in every sense, and that I also recognize the hardships of our realities, but their bright spots are also beautiful. So I think that living in New York has given me the objectivity to see that reality,” Magos says.
The artist has a very close relationship with Philip Glass: “I’ve known Philip since I arrived in New York; he’s a close friend of Paola Prestini and is part of the whole National Sawdust community in Brooklyn, where I serve as artistic advisor. I know what he represents musically and as an avant-garde figure, as a voice of this city; everything he has done, everything he represents, and his connection to Mexico are all very important.”
In 1984, Philip Glass set Octavio Paz’s poetry to music in his work Three Songs for Chorus a Cappella, a connection that in some ways links his work to that of Magos Herrera and her tribute to Sor Juana, another icon—albeit a feminist one, and one who was rediscovered much later—of Mexican literature.
“I find it interesting how things come full circle,” says Magos. Sounds From Liquid Days, the album she’s joining the celebration for, was released in 1986: “And it features contributions from songwriters like Suzanne Vega and David Byrne; it’s a really beautiful album, and I think it was only played live once, and there was a performance on Saturday Night Live, ”she adds.
Magos Herrera and her dedication to music
In addition to her stage work, the artist remains deeply committed to music education and training. For many years, she has offered classes and talks during her tours, whether through initiatives by UN Women or at universities and music residencies around the world. She maintains, for example, a close connection with JazzUV in Xalapa, Veracruz, a true educational hub for jazz that has trained extraordinary musicians. She also teaches at The New School in New York, within the improvisation department for classical musicians.
For Magos, teaching is a path to lifelong learning: a way to keep curiosity alive and share life experiences. She says that paving the way for new generations is an essential part of the process; after that, “each person will have to do their own work and forge their own path, ” she says.
Magos Herrera in 2026
Magos Herrera ’s schedule confirms the vitality of her current creative phase. On February 20, she participated in a private event in New York; from February 25 to 26, she was in Mexico City as part of the Decididas Summit; and on February 27, she presented the documentary Con Alma in the Mexican capital, with another screening on March 5. From March 26 to 28, she took part in an artist residency at Vana in Dehradun, India.
In April, she traveled to Europe: on the 17th, she took part in a private diplomatic event in Lisbon, and on the 23rd and 24th, she performed *Aire* in Madrid. On May 29, she attended a private event at Carnegie Hall in New York. A journey that once again traces the path of an artist who inhabits jazz without borders.
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