Matthew L. C. Boyle
Music Theorist

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“A Lazzarone Figaro? Musical Neapolitanisms in Rossin's Il barbiere di Siviglia.” Intégral 38 (2025)

Example 2
Figaro’s “Largo al factotum,” from Rossini’s Il barbiere di Siviglia (mm. 44–50)
Example 3
The tarantella theme in G major, Figaro’s “Largo al factotum” (mm. 111–115)
Example 4
Nonsense syllables on “la” in No. 89 “Nuova Tarantella,” Guglielmo Cottrau (1865)
Example 5
Nonsense syllables in G. Rossini’s “La Danza,” Soirées musicales
Example 6
The opening tarantella figuration from G. Rossini’s “La Danza,” Soirées musicales
Example 7
Figaro’s “Largo al factotum,” from Rossini’s Il barbiere di Siviglia (mm. 119–23)
Example 8
No. 89 “Nuova Tarantella,” Guglielmo Cottrau (1865)
Example 10
Vocal score of “Largo al factotum,” mm. 135–51.
Example 11
Second harmonic crisis in Figaro’s “Largo al factotum”
Example 13
Opening measures of “All’idea di quel metallo,” from G. Rossini’s Il barbiere di Siviglia
Example 14
Figaro’s “street cry” in the tempo di mezzo of “All’idea di quel metallo,” from G. Rossini’s Il barbiere di Siviglia
Example 15
Street cries of a Neapolitan fruit seller and a Neapolitan pork seller as transcribed and arranged by Federico Ricci (after 1853)
Example 17
Cries of “Maní!” (Peanuts!) in “El Manisero” as performed by Antonio Machin (1930)
Example 18
Isacco’s “Stringhe e ferri da calzette” from G. Rossini’s La gazza ladra
Example 19
Figaro’s accompanimental waltz sung by the Count in the duet’s cabaletta