Among other composers who adopted the format and style of Arianna's lament were Francesco Cavalli, whose opera "Le nozze di Teti e di Peleo" contains three such pieces; Francesco Costa, who included a setting of Rinuccini's text in his madrigal collection "Pianta d'Arianna"; and Sigismondo d'India, who wrote several laments in the 1620s after the monodic version of Arianna's lament was published in 1623. Monteverdi himself used the expressive lament format in each of his two late operas, "Il ritorno d'Ulisse in patria" and "L'incoronazione di Poppea", for the respective characters of Penelope and Ottavia. In 1641 Monteverdi adapted Arianna's lament into a sacred song with a Latin text "Pianto della Madonna" (incipit: "Iam moriar, mi fili"), which he included in "Selva morale e spirituale", the last of his works published during his lifetime.