Fear and a frenzy of faith

It is set in an 18th-century colonial sea port in Colombia. Sierva Maria is bitten by a dog thought to be rabid. The coincidence of a solar eclipse persuades the locals and the Spanish Catholic clergy who are their spiritual mentors, that Sierva's distressed behaviour is proof that she is possessed.

Sierva is demonised and the sympathetic Father Cayetano Delaura, who feels increasingly drawn to her, is reprimanded by the Bishop for suggesting that the girl may simply be terrified. An exorcism is ordered with tragic consequences.

Helmut Stürmer's sets, with projections by Andu Dumitrescu, evoke the colours and atmosphere of the African slave community. Perhaps inevitably the portrayal of primitive obsession leads to a sense of disjointedness but director Silviu Purcarete has a more fundamental problem with the structure of Part 1, which lacks dramatic momentum. The music is often strikingly original, both in scoring and in harmonic invention, but too many static episodes in succession tax the patience. Nor is lunacy conducive to either elegant word-setting or intelligibility.

Part Two, however, has a clear dramatic trajectory, from Sierva's imprisonment to exorcism and death. Here, the music is spellbindingly beautiful, often understated but haunting and mesmeric. Delaura refers at one point to an "unearthly shiver", and there is no better description of the quivering, fragile quality of so much of Eötvös's music.

The composer had the luxury of writing for specific singers, only to find that Marisol Montalvo, due to take the role of his central character, Sierva, had to withdraw owing to ill health. Fortunately, Allison Bell was on hand to supply the taxing coloratura, which she did with stunning aplomb.

Nathan Gunn realised the anguish and colonial guilt of Delaura, while the cavernous-voiced Mats Almgren was imposing both vocally and physically. Felicity Palmer was no less formidable as the abbess Josefa Miranda and Jean Rigby added an impressive madwoman to her varied list of roles.

Vladimir Jurowski demonstrated an admirable command of the idiom. A brave undertaking for Glyndebourne and a fine achievement.

Performances to 30 August (www.glyndebourne.com).

Love and Other Demons
Glyndebourne