A review of The Barber of Seville by Rossini, which leads to the basic thesis that the "" true "" Figaro is actually a great boaster. Contrary to what is commonly said, then, the dramatic function of Figaro is that of messing up the plot rather than unravel, but in terms of artistic and dramatic this is a primary function: for an intriguing servant is more important to have an instrumental role in the "node" rather than the  "resolutio".
The research moves on three levels: the reconstruction of the genesis of the work in the light of the discovery of important new archival documents, the systems of "theatrical conveniences" scope and experiences of the artists involved; the comparative analysis between the Sterbini booklet and the comedy by Beaumarchais, with the anonymous libretto of the Paisiello's opera on the same subject (1782) and other previously unknown sources; the analysis of the score of Rossini, in view of the dramatic-musical "construction" of the characters.