The artistic and economical balance sheet of the XXXIV edition of the Rossini Opera Festival has been publicly presented at the head office of the Marche Region. Among those present were Pietro Marcolini, assessor to the Region for Culture and the Balance; Matteo Ricci, President of the Province of Pesaro and Urbino; Gloriana Gambini, cultural assessor to the Town Council of Pesaro; Lelia Mazzoli, Director of the Department of the Science of Communications and Humanities studies at the University of Urbino; for the Rof, the Sovrintendente Gianfranco Mariotti and the General Director Flavio Cavalli. Carlo Maria Pesaresi, President of the Consorzio Marche Spettacolo, was also present.
Councillor Marcolini declared: “In presenting its Social Balance and its analysis of press coverage, both relating to 2012, and drawn up by the University of Urbino, the Rof shows results of high excellence in the artistic, cultural, formative, economic and social sections, increased by the interest of the press, which from year to year augments the attractions of the Festival, of Pesaro and of the Marche in general. Economic and organizational quality and efficientcy generate different kinds of income, which can be measured, and which concentrate wealth and employment in the territory, and which represent the sphere of a solid benefit emanating from an event of such extraordinary cultural value in the Marche, in Italy and abroad.”
The Sovrintendente, Mariotti, also placed particular emphasis on the various kinds of income (economic, promotional, social and civil) generated by the Festival: “Alongside the artistic results and the numbers of spectators, over the years the Festival has influenced worthwhile processes in our territory, as demonstrated by the studies published by the University of Urbino. The Rof brings about an economic income in the proportion of seven to one in respect to the investment made by local institutions. Furthermore, it has created a true place brand (Pesaro, her province and the Region itself) which identifies itself with Rossini and his music as appealing and characteristic features with an enormous promotional potential in which to invest strongly. Finally, according to an appraisal by the Press Index agency, press coverage of only the Italian papers and websites for 2013 amounts to about 8 million Euros in equivalent publicity value.”
The Box-Office registered 16.985 patrons (the highest number in the history of the Festival) with a total cash intake of 1.123.142 Euros (11% higher than in 2012, the second highest record for the Rof). The percentage of foreign visitors has now reached 68%, confirming the Festival’s capacity to attract an audience drawn form all five continents; as always, the majority come from France, Germany, Japan and England, whilst Russia continues to send more people: a 10% increase over 2012. Many also come from Austria, Switzerland, Belgium, Spain and the United States. Besides Italy, 37 nations are represented. A great many of the journalists also come from abroad, with representatives from 27 countries, contributing a total of 147 articles and services in newspapers, radio, TV and foreign websites. Standing out among these are the International Herald Tribune, El Pais, the Frankfurter Allgemeine Zeitung, Die Welt, the Süddeutsche Zeitung and the Japanese newspaper Yomiuri Shimbun (the most widely read daily newspaper in the world, with a sale of 13,5 million copies and almost 25 million readers).
This year, as in the past, the RAI Radio3 broadcast the Festival’s operatic repertoire live in the format of RadioTre Suite to 12 countries on Euroradio. The three operas were also heard live all over the world on line on the Rai Radio3 website.
With regard to the Festival’s fostering of future audiences, as from this year the special course for high schools Crescendo per Rossini has been complemented with Il viaggetto a Reims, an integrated operatic game for children which took place at the same time as the dress rehearsal of Il viaggio a Reims.
The Rossini Opera Festival will offer two new productions in 2014: Aureliano in Palmira, the first ever performance in the critical edition, which will be directed by Mario Martone; Armida, which Luca Ronconi produced long ago in 1993, and to which he now returns with a new production. The third opera in the programme will be a semi-staged Barbiere di Siviglia realized by the Scenography faculty of the Accademia di Belle Arti of Urbino.