traditional additions. The Andromeda theme was explored later in works such as Muriel Stuart's closet drama Andromeda Unfettered (1922), featuring: Andromeda, "the spirit of woman"; Perseus, "the new spirit of man"; a chorus of "women who desire the old thrall"; and a chorus of "women who crave the new freedom". In music and opera The Andromeda theme has been popular in classical music since the 17th century. It became a theme for opera from the 16th century, with an Andromeda in Italy in 1587. This was followed by Claudio Monteverdi's Andromeda (1618-1620): its libretto survives but the music has been lost. Benedetto Ferrari's Andromeda, with music by Francesco Manelli, was the first opera performed in a public theatre, Venice's Teatro San Cassiano, in 1637, the year that theatre was inaugurated. This set the pattern for Italian opera for several centuries. Jean-Baptiste Lully's (1682), a tragédie lyrique in 5 acts, was inspired by the popularity of Corneille's play. The libretto was by Philippe Quinault, and a real horse appeared on stage as Pegasus. saw an initial run of 33 consecutive performances, 45 in total, which was exceptional at that time. Written for King Louis XIV, it has been described as Lully's "greatest creation[...] considered the crowning achievement of 17th century French music theatre. Filled with dancing, fight scenes, monsters and special effects[...] [a] truly spectacular opera". Michael Haydn wrote the music for another in 1797. A total of seventeen Andromeda operas were created in Italy in the 18th century. Other classical works have taken a variety of forms including (1726), a pasticcio-serenata on the subject of Perseus freeing Andromeda, made as a collective tribute to the visiting Cardinal Pietro Ottoboni by at least five composers working in Venice, including Vivaldi; 's (possibly 1762), a cantata for solo voice and orchestra; and Carl Ditters von Dittersdorf's Symphony in F (Perseus' Rescue of Andromeda) and Symphony in D (The Petrification of Phineus and his Friends), Nos. 4 and 5 of his Symphonies after Ovid's Metamorphoses (). In the 19th century, Augusta Holmès composed the symphonic poem (1883), while Guillaume Lekeu wrote (1891), a cantata for four voices, chorus and orchestra. In the 20th century, Jose Antonio Bottiroli composed Andrómeda, Micro-sorrow I in D minor B96 for piano (1984). In 2019, Caroline Mallonée wrote her Portraits of Andromeda for cello and string orchestra. In popular music, the theme is employed in tracks on Weyes