The present thesis will endeavour to shine a light on a hitherto neglected work of the classical guitar repertoire from the renowned romantic composer Giulio Regondi, and in so doing analyse the necessary elements of interpretation involved when approaching a musical work so imbedded in and defined by its period of composition. The piece to be interpreted is entitled ‘Air varié de l’opera de Bellini’, and is composed upon a theme from Bellini’s opera ‘I Capuleti e I Montecchi’. I will first provide a brief historical background of the composer and the work in which various issues and influences of interpretational relevance will be addressed. This will be followed by an overview of its broad compositional and tonal structure. The body of this dissertation however will concern itself with an analysis and explanation of my own artistic interpretation of the piece, in which my personal musical decisions are elaborated upon and justified in terms of their individual motivations. As such, this thesis will adopt a primarily subjective tone, but will nevertheless ultimately serve as an analysis of the process of interpretation, elucidating the many various components one must consider when interpreting such a work. Such components stem largely from the work’s musical period, various instrumental constraints of the classical guitar and its performance practice, and the musical and harmonic context of a certain moment within the piece. Due to the length of the piece, and the nature of much of the composition, I have deemed it unnecessary to address every individual moment, but instead focus on those which stand out as potentially controversial or debateable. To further delineate my individual interpretation, I will be utilizing the Orpheé edition of the work, as well as the published recordings of Roch Modrzejewski and Thibeut Garcia, as referential material to compare and outline distinct differences of fingerings and musical interpretation between existing realisations of the work and my own. For the purpose of comprehension, the structure of this section will be divided according to the linear structure of the work and address each matter of interpretation as they appear. All figures will be labelled where necessary with the standard fingering markings of the classical guitar. Furthermore, as I firmly align with the musical school and teachings of Marco Tamayo, I will be utilizing his published didactic material as referential sources supporting my own individual musical interpretation. Following...