Tamvaco 2000, p. 1273. For example, Covent Garden performed it in English as Masaniello; or, The Dumb Girl of Portici on 4 May 1829 (Loewenberg 1978, column 712) and in Italian as Masaniello on 10 March 1849 (Tamvaco 2000, p. 957). It was given the title Mazaniello on certain repetitions at the Paris Opéra (Lajarte 1878, p. 129). Tamvaco, Jean-Louis (2000). Les Cancans de l'Opéra. Chroniques de l'Académie Royale de Musique et du théâtre, à Paris sous les deux restorations (2 volumes) (in French). Paris: CNRS Editions. ISBN978-2-271-05685-6. Loewenberg, Alfred (1978). Annals of Opera 1597–1940 (third, revised ed.). Totowa, New Jersey: Rowman and Littlefield. ISBN9780874718515. Tamvaco, Jean-Louis (2000). Les Cancans de l'Opéra. Chroniques de l'Académie Royale de Musique et du théâtre, à Paris sous les deux restorations (2 volumes) (in French). Paris: CNRS Editions. ISBN978-2-271-05685-6. Lajarte, Théodore de (1878). Bibliothèque musicale du Théâtre de l'Opéra. Vol. 2 [1793–1876]. Paris: Librairie des Bibliophiles..
Wagner, Richard. "Reminiscences of Auber", in Richard Wagner's Prose Works, Volume V: Actors and Singers. Translated by William Ashton Ellis. Kegan Paul, Trench, Trübner & Co., 1896. 53.
Slatin 1979, p. 47. Slatin, Sonia (1979). "Opera and Revolution: La Muette de Portici and the Belgian Revolution of 1830 Revisited". Journal of Musicological Research. 3 (3): 45–62. doi:10.1080/01411897908574506.
Slatin 1979, p. 60. Slatin, Sonia (1979). "Opera and Revolution: La Muette de Portici and the Belgian Revolution of 1830 Revisited". Journal of Musicological Research. 3 (3): 45–62. doi:10.1080/01411897908574506.
Slatin 1979, p. 50. Slatin, Sonia (1979). "Opera and Revolution: La Muette de Portici and the Belgian Revolution of 1830 Revisited". Journal of Musicological Research. 3 (3): 45–62. doi:10.1080/01411897908574506.
Slatin 1979, pp. 53–54. Slatin, Sonia (1979). "Opera and Revolution: La Muette de Portici and the Belgian Revolution of 1830 Revisited". Journal of Musicological Research. 3 (3): 45–62. doi:10.1080/01411897908574506.
Tamvaco 2000, p. 87, lists Pouilley in the bass role of Moreno. In his index on p. 1286, Tamvaco gives this singer's full name as Charles-Louis Pouilley but classifies him as a tenor. Gourret 1982, p. 60, confirms that the singer Pouilley was a bass, and also mentions that he joined the company in 1809. Tomvaco also mentions that the company employed a soprano, Mme Pouilley, who was his wife. Casaglia in the Amadeus Almanac lists this singer as Beltrame Pouilley, possibly an error. Tamvaco, Jean-Louis (2000). Les Cancans de l'Opéra. Chroniques de l'Académie Royale de Musique et du théâtre, à Paris sous les deux restorations (2 volumes) (in French). Paris: CNRS Editions. ISBN978-2-271-05685-6. Gourret, Jean (1982). Dictionnaire des chanteurs de l'Opéra de Paris. Paris: Albatros. OCLC10018314.