Many centuries and the Atlantic Ocean separate Mexico’s Sor Juana Inés de la Cruz (1648–1695) from Germany’s Saint Hildegard von Bingen (1098–1179), the Sibyl of the Rhine. Yet as feminists of towering spirit, imagination, and intellect asserting themselves against patriarchal power structures, the exalted pair are surely raising some posthumous hell together inside the Pearly Gates. Back on Planet Earth, the composer Paola Prestini (much drawn to religious esoterica) and the jazz luminary Magos Herrera have joined forces to adapt Sor Juana’s 1,000-line Primero Sueño (First Dream), a mind-bending crown jewel of the Hispanic Baroque. Their collaboration takes the form of a processional performance piece set to unfold through the spare but richly decorated medieval spaces of the Cloisters. Herrera channels Sor Juana, accompanied by peripatetic instrumental virtuosi and the Leipzig-based vocal ensemble Sjaella. Louisa Proske, who delivered a big hit for the Met with Virgil Thompson’s The Mother of Us All, is the director. —Matthew Gurewitsch