She suffers no reaction; nevertheless, she is brought to a convent where Father Delaura is supposed to take care of her.

The instrumentation calls for: Unusually, Love and Other Demons consistently uses multiple languages.

The Glyndebourne performance of Love and Other Demons was awarded four out of five stars by Andrew Clements of The Guardian, who stated that “if structurally it is his most conventional [opera] so far, it is also well made and musically rewarding.” Clements criticized Hamvai's libretto, writing that the removal of the 18th century Latin American context neutralizes “the power of Márquez's magic realism”.

However, Clements also argued that Eötvös's score “is full of authentically magical things.

There are ravishing sounds here, combined with equally convincing vocal writing often spun over diaphanous textures, even though sometimes the drama needs more of a musical push.”[2] The first German production was presented on 31 January 2009 at the Chemnitz Opera under the direction of Dietrich Hilsdorf and with Julia Bauer in the role of Maria.