attention to the manner in which Monteverdi is able to match in music the "rhetorical and syntactical gestures" in Rinuccini's text. The opening repeated words "Lasciatemi morire" (Let me die) are accompanied by a dominant seventh chord which Ringer describes as "an unforgettable chromatic stab of pain"; Monteverdi was one of the first users of this musical device. What follows, says Ringer, has a range and depth "comparable to Shakespeare's most searching soliloquies". The words "Lasciatemi morire" are followed by "O Teseo, O Teseo mio" (O Theseus, my Theseus"); the two phrases represent Arianna's contrasting emotions of despair and longing. Throughout the lament indignation and anger are punctuated by tenderness, until the final iteration of "O Teseo", after which a descending line brings the lament to a quiet conclusion. 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. Recordings, "Lamento d'Arianna" Many recordings are available of both the five-voice madrigal and the solo voice version of the "Lamento". The solo recordings include several versions which use a tenor or baritone voice. Among leading singers who have issued recordings are the sopranos Emma Kirkby and Véronique Gens, and the mezzo-sopranos Janet Baker and Anne Sofie von Otter. Editions At least eight versions of the libretto were published between 1608 and 1640. The following is a list of the known editions: Aurelio et Ludovico Osanna, Mantua, 1608. Publication of the text included in Federico Follini's report of the 1608 performance; Heredi di Francesco Osanna, Mantua, 1608. Possibly the text circulated to the audience at the 1608 performance; I. Giunti, Florence, 1608; Bernardo Giunti, Giovan Battista Ciotti & Co., Venice, 1608; Ghirardo et Iseppo Imberti, Venice, 1622; G.