Adamant, magnificent, terrible Medea. ... Conductor Patrik Ringborg links pit and stage in an extraordinary way. The singing moves from his lips. It might seem easy when Vetter is showing off, but she can’t lean against any accompanying parts. Instead, she is throughout in a dialogue with the orchestra: a thoughtful clarinet, a mourning cor anglais or impetuous tympani. Or the strings, cutting sharply through the stage before Jonas Malmsjö’s messenger delivers his dreadful tale.