Medaglie incomparabili

Vent’anni di storia del Rossini Opera Festival (20 years of the history of the Rossini Opera Festival)
Lorenzo Arruga – Rizzoli, Milano 2001

“So many things have happened, both to Pesaro and to Rossini, and so many things have bound the world to Pesaro and to Rossini, that it seems that goodness knows how many generations have passed. And yet, when the summer evenings arrive, we await and we expect the old-fashioned lazy tranquility of an Italian seaside holiday town, with the scent of the sea and the sound of the dialect of the Marche tempered by the sweet after-taste of the Romagna accent.” (L. Arruga, p. 10).

Il viaggio a Pesaro

La stampa estera al Rossini Opera Festival (Foreign Press at the Rossini Opera Festival)
Simona Barabesi & Giacomo Mariotti – Rossini Opera Festival 2009

“This collection of a hundred or so articles is intended to tell a story, through the voices of journalists from all over the world:  the story of a festival that in the space of only thirty years, thanks to their constant presence and their contribution has become a highly desirable annual fixture  for lovers of bel canto and an international rendezvous for opera-lovers, who flock to Pesaro every year from every corner of the world, in numbers exceeding the Italian members of the audience, a  unique phenomenon in Italy.” (S. Barabesi, p. 14).

Il Rof nell'economia pesarese

(The Rossini Opera Festival in the economy of Pesaro)

Una valutazione per l’anno 2011 (An evaluation for 2011)
Giorgio Calcagnini & Francesca Maria Cesaroni – Università degli Studi di Urbino 2012

“Our investigation shows how the Festival has contributed not only to the strengthening of the civic identity but also to its world-wide image. At the same time it has improved the services offered to tourists by Pesaro, enriched and diversified by the Festival dedicated to Rossini. The investigation abundantly lists details not only of audience numbers but also of figures concerning income, employment and everything that concerns the ‘motor’ of the Festival.” (the Magnifico Rettore, Prof. Stefano Pivato, p. 8).

L'immagine di Pesaro e del Rof nella stampa nazionale e internazionale

(The image of Pesaro and the Rossini Opera Festival as seen by the national and international press)

An analysis of press coverage during 2012

“One might say metonymically that Rossini is in Pesaro and turns the city into the protagonist of the media talk, the digital sharing of information, and the conversations based upon him. Conversations that carry all the more conviction because they are considered more believable, when compared with communications of a more blatantly promotional character” (L. Mazzoli, p. 8).

Accademia Rossiniana XXV

A history

“A quarter of a century is a length of time sufficient to be able to calculate the value of such an experience as the Accademia Rossiniana, which right from the beginning was looking far into the future. Born in the bosom of the ROF on the basis of precise and particular theatrical and strategical requirements, it has always been directed by Alberto Zedda, who is also the Artistic Director of the Festival. In his courses he has formed an entire generation of young singers who have polished their technical, musical and cultural resources in Pesaro.”

ROF and its audience: a history of strong ties

Survey on the audience of 2017 Rossini Opera Festival
Roberta Bartoletti, Laura Gemini and Stefano Brilli - University of Urbino 2018

"The analysis, carried out by 'Osservatorio dei pubblici dello spettacolo dal vivo', represents the first systematic and in-depth survey on the audience of Rossini Opera Festival in Pesaro in the 2017 Edition. The focus of the research is to outline the audience through the collection of their socio-demographic characteristics, attitudes and the behaviour patterns of the cultural experience". (Introduction, p. 7).


Interview analysis 
Roberta Bartoletti, Laura Gemini and Stefano Brilli - University of Urbino 2019

"More than a 'second edition', this is a 'second phase' of the research that began in the 2017 ROF edition. While the first phase was oriented towards the production of an overall image of the Festival audience, of its sociographic aspects, its consumption level and appreciation, the second one investigates more deeply into the live experience of the audience at the Festival and what the event means for them, through interviews and focus groups". (Introduction, p. 7)