Eva-Lotta is the spring of 2014 engaged as a cover for Euridice and Amor at the Gothenburg Opera. This set is a production that has been hailed by critics, David Radok (director) and Lars- Åke Tessman (set design) has created yet another success! Soloists, chorus and dancers headed by the notion of a steady hand from the conductor Laurence Cummings.

When Orpheus beloved wife Eurydice dies mourning he so desperately that the gods appeased. Orpheus is allowed to go down to Sheol Hades to retrieve her back to the living. But the god of love Cupid sets several conditions. With his vocal art Orpheus must persuade them that guards the underworld's gates. On the way up , he may not look at Eurydice , and he must not tell her why. If he succeeds not, Eurydice die again. During the walk up from Hades begs Eurydice that Orpheus should look at her. In the end he turns around.

Orpheus and Eurydice is a study in grief and doubt. A meeting between two people who on the surface have a loving relationship , but that really does not understand or trust each other.

Opera Reformer Gluck can fill 300 2014. For the first time in this house, we play one of his operas, in a production with sumptuous silver lining. The rarely played Parma version of his eternally beloved Orpheus and Eurydice was created in an act of a soprankastrat with Orpheus role in a higher position than the original. Here it will be performed by the Gothenburg Opera mezzo-soprano Katarina Karnéus, leaving the role altläge for soprano vocals spaces. Her Eurydice becomes international soprano Kerstin Avemo. It will be an exciting reunion of this couple that got the crowd cheering with his interpretations of Romeo and Juliet in Bellini's I Capuleti ei Montecchi last season. Amor sung by Mia Karlsson.

The artistic team , with our husregissör David Radok at the helm, has a longstanding relationship with our opera house and our audience. Following the success of Dvořák's Rusalka , expectations are high for yet another dizzying magical set of timeless mythology. The conductor and baroque expert Laurence Cummings have previously visited us with Handel operas Julius Caesar and Alcina. Against this set is also drawn international eyes, because we are the first opera stage in the world using the new source-critical edition of the Parma version.