A common feature of Cherubini's Parisian operas of the 1790s is the displacement of one or more of the protagonists. They are out of sorts with their environment, experiencing a need to escape that prevents the traditional unity of place from focusing the drama. The heroine of Lodoïska (1791) is imprisoned in a tower; in Eliza ou le Voyage aux glaciers du Mont St Bernard Florindo travels to Mont St Bernard to forget his beloved Eliza, who pursues him and saves him from suicide. For the heroine of Médée (1797), Corinth represents unhappiness: she returns to her former home only to take revenge. In Les deux Journées (1800), Armand and Constance flee Paris to save their lives; even in the comic opera L'Hôtellerie portugaise (1798) the central location serves merely as a rendez-vous for the two lovers on their way to evade the wicked plans of Donna Gabriele's stepfather. These operas do not, in other words, unfold in reassuring environments where characters feel at home; nor are there neutral backgrounds that enable the drama to concentrate on personal interaction. What is more, although placing protagonists in such unhappy circumstances is widespread in late eighteenth-century opera, and ‘rescue operas’ in particular, it is at least arguable that Cherubini exploited their restlessness in a uniquely successful manner.