 In Cusick's view Monteverdi "creat[ed] the lament as a recognizable genre of vocal chamber music and as a standard scene in opera ... that would become crucial, almost genre-defining, to the full-scale public operas of 17th-century Venice" and she concludes by noting that the women of Mantua would have recognised the transformations enacted in the lament as representative of their own life stories.Monteverdi, she believes, sought to represent in music the eventual triumph of female piety over promiscuity