Tito Gobbi was born on October 24th, 1913, in Bassano del Grappa, a town in the Veneto region of Italy. He grew up in a musically-inclined family, and his parents recognized his early talents and interest in singing. As a child, he received encouragement and support from his family to pursue his passion for music. At the age of 16, he enrolled at the Arrigo Boito Conservatory in Parma, where he studied singing under the guidance of M° Emilio Ghirardini. During his time at the conservatory, he refined his vocal technique and developed the skills that would later make him one of the most prominent baritones in the opera world.

Gobbi’s early education and training laid a solid foundation for his future career. He gained valuable experience performing in small regional theaters before making his debut in 1935 as Count Rodolfo in Bellini’s La Sonnambula at the Teatro Maruccelli in Livorno. His big breakthrough came in 1942 when he portrayed Rigoletto at the Teatro alla Scala in Milan, a performance that marked a significant turning point in his career and established him as a major operatic figure.

In 1942, he debuted at the house in the role of Belcore in Donizetti’s L’elisir d’amore conducted by Tullio Serafin. It was under Serafin’s guidance and direction that the young Gobbi prepared many roles, including some that would become crucial to his later career; these included Scarpia, Rigoletto, and Simon Boccanegra. He also appeared at the Rome Opera from 1938 onward in stage productions such as singing the role of Sharpless in Madama Butterfly under conductor Victor de Sabata. Other significant Italian venues in these pre-war years included La Fenice in Venice where, in 1941 he appeared as Marcello in La bohème and in 1942 as Sharpless. At the Teatro Communale in Florence in 1941 he sang the role of Hidraot in Gluck’s Armide. In Rome, in 1942 he performed his first Falstaff under de Sabata. Also, he was the protagonist in Alban Berg’s Wozzeck.

Gobbi caught the attention of renowned conductor Arturo Toscanini, who invited him to perform in a production of Verdi’s Falstaff at the Salzburg Festival in 1948. This collaboration with Toscanini further elevated Gobbi’s reputation and opened doors to international opportunities. In the early years of his career, Gobbi began expanding his repertoire, taking on new roles in various Italian operas. His rich, expressive voice and acting abilities made him particularly well-suited for dramatic characters like Scarpia in Puccini’s Tosca and Iago in Verdi’s Otello. With the support of Arturo Toscanini and other prominent figures in the opera world, Gobbi started to perform at major international opera houses and festivals. He made appearances in London, New York, Buenos Aires, Vienna, and other important musical centers, earning praise from audiences and critics alike. One of the hallmarks of Gobbi’s early career was his remarkable acting ability. He brought a theatrical presence to his performances, fully embodying the characters he portrayed on stage.

Gobbi’s international career blossomed after World War II, with appearances in 1948 at the San Francisco Opera. He performed for the first time at London’s Royal Opera House, Covent Garden, in 1950 and sang with the Lyric Opera of Chicago from 1954 until 1974. He made his Metropolitan Opera debut in 1956 as Scarpia in Tosca. 

One of the most notable collaborations in Gobbi’s career was with the legendary soprano Maria Callas. They appeared together in numerous performances and recordings, creating some of the most memorable interpretations of opera characters. Gobbi and Callas performed together in various opera productions during the 1950s, particularly at the renowned Teatro alla Scala in Milan. They appeared in operas such as Verdi’s Tosca, Il Trovatore, and Rigoletto, as well as in Puccini’s Madama Butterfly.

According to Gobbi, he sang Scarpia in Puccini’s Tosca “nearly a thousand times”. One significant production was the “event of worldwide interest” (as Gobbi himself describes it), Franco Zeffirelli’s production of Tosca at the Royal Opera House, Covent Garden in London in February 1964. Maria Callas sang the title role, conducted by Carlo Felice Cillario. Act 2 of the production was broadcast live on British television on February 9th, 1964, which must be one of the most acclaimed dramatic interpretations of all recorded operatic repertoire.

Tito Gobbi had a notable career in films, particularly in opera film adaptations. One of Gobbi’s most famous film appearances was in the 1956 film adaptation of Giacomo Puccini’s opera Tosca. Directed by Carmine Gallone, the film starred Tito Gobbi as Baron Scarpia, alongside other opera stars such as Franca Duval (Tosca) and Gino Sinimberghi (Cavaradossi). Gobbi’s portrayal of Scarpia was praised for its intensity and dramatic depth. Gobbi also starred in the 1956 film adaptation of Giuseppe Verdi’s opera Rigoletto. Directed by Carmine Gallone, the film featured Gobbi in the title role, performing alongside Carla Del Poggio (Gilda) and Delia Rigal (Maddalena). There was also the popular 1949 British drama set in wartime Italy, The Glass Mountain, which made him known to a wide public. Also, in 1950, he played himself, in the British film Soho Conspiracy. By the time of his death, Gobbi had appeared in some 25 films, in both singing and speaking parts. 

In the later years of his career, Tito Gobbi transitioned from performing as an opera singer to working as a stage director, a notable example being the December, 1965 production of Verdi’s SimonBoccanegra at Covent Garden. Overall, between 1965 and 1982, he directed productions of about ten different operas, the largest number of which were of Tosca. Others included Il Barbiere di Siviglia, Otello , and Gianni Schicchi.

Tito Gobbi passed away on March 5th, 1984, at the age of 70. He died in his hometown of Rome, Italy.