Titta Ruffo carefully studied each role he played and Giovanni Bore noted in this regard: “He would refer to the paintings of the maestri to capture the right facial expressions, commission his costumes with absolute historical accuracy, study the make-up, the behavior and leaving nothing out”.

It’s significant that, in order to bring the interpretation of a character to life, he’d consider the opera script as a guideline and would always go back to the original text.

[D. Liburni, Titta Ruffo. I costumi teatrali, Pisa, Teatro di Pisa, Pacini, 1993]


A collection of over 40 restored costumes, tailored between 1898 and 1931, are displayed on rotation at Teatro Verdi of Pisa, Titta Ruffo Fund, along with all their accessories (capes, wigs, jewelry, cold steel).


Picture: Università degli studi di Pisa, Department of Art History.