In her analysis of the lament, the musicologist Suzanne Cusick asserts that a large extent Monteverdi's fame and historical status rested for centuries on the universal appreciation of his achievement in the celebrated lament was among the most emulated, and therefore influential, works of the early 17th century". 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: "Arianna's gradual loss of her passionate self in the lament constitutes a public musical chastening of this incautious woman who dared to choose her own mate". In her study "The Recitative Soliloquy", Margaret Murata records that laments of this kind became a staple feature of operas until about 1650, "thereafter more rarely until the total triumph of the aria around 1670". Mark Ringer, in his analysis of Monteverdi's musical drama, suggests that the lament defines Monteverdi's innovative creativity in a manner similar to that in which, two-and-a-half centuries later, the "Prelude" and the "Liebestod" in "Tristan und Isolde" announced Wagner's discovery of new expressive frontiers.