This chapter provides an analysis on a contemporary version of the 18th century Manuel García’s and Pietro Metastasio’s Le cinesi, an Orientalizing chamber opera: Rubén Fernández Aguirre’s and Bárbara Lluch’s Le cinesi (2017). The focus of the study is the (neo)classical myth of Andromache and her portrait as a virtuous widow and mother. The evolution and Christianization of the myth through the centuries until the present days will be studied. Furthermore, it will be taken into consideration how Fernández Aguirre’s and Lluch’s performance parodies the myth of Andromache in a certain way.

This article received funding from the European Union's Horizon 2020 research and innovation programme under grant agreement No. 952366.