Francesca Cuzzoni and Faustina Bordoni, singers famous for their 1720s London rivalry, were not necessarily the warring protagonists history has made them out to be. While opera historians have long acknowledged the role audience factions played in creating the rivalry, the contribution made by the opera company itself has not been considered. Working from the premise that the Royal Academy shaped its operas around this important aspect of its stars' public personae, I focus on Handel's Admeto (1727) to examine both the way opera was structured to take account of the rivalry and the concomitant play with the singers' identities provided in the work. I argue that, in employing the miniature portrait and female disguise as its two central plot devices, and in the theatricality of its music, Admeto explores notions of authenticity and identity, female mutability, and anxiety and disavowal.