How supply, audiences and value are distributed across the macro-sectors
Analysis and commentary from industry experts
“Today, more than ever, concerts are the bastion of authenticity. They embody truth at a delicate moment in which music is exposed to the risk of doubt, of uncertainty about what we are really listening to, in which the integrity of authors' work is endangered by the unchecked practices of Artificial Intelligence.”
In the liquid mutability of our times, it is heartening to note the absolute steadfastness with which certain fundamental values remain intact, unchanged. After all, music in its essence is, and has always been, first and foremost the act of the concert: someone who sings and plays for someone else. And it is for this primary reason, from before there were tapes and records carrying music around the world, that songs are imagined, that melodies are written, that words are invented.
Gino Castaldo
Rai Radio 2
“Theatre is in good health, yet the numbers invite reflection: against a modest +1.8% in performances, spending is rising, a sign more of price increases than of new productions. And yet, the most significant figure is the growth in audiences: in an age dominated by streaming, choosing theatre means seeking community, sharing, living experience. A strong signal that recalls the sector's cultural and social value, beyond mere market logic.”
Theatre is an ephemeral art, lacking the economies of cinema and the universal embrace of music. Yet it is in good health. SIAE's 2025 data, steadily growing for some years now, confirm that theatre is a living strategic hub in the contemporary cultural scene. The optimism of the figures nonetheless calls for some reflection.
Anna Bandettini
La Repubblica
“Had it not been for Checco Zalone, Italian cinema in 2025 would have been more fragile: his film drove the box office to record takings. Against stable but slightly declining figures, what emerges is a system propped up by a few strong titles, struggling to renew itself and attract new audiences.”
The flattering figure is that four Italian titles feature in the top ten. Besides Zalone, there are Follemente by Paolo Genovese, Diamanti by Ferzan Ozpetek and Io sono la fine del mondo by Gennaro Nunziante, Zalone's own director, ranking third, seventh and tenth respectively.
Valerio Cappelli
Corriere della Sera
How live performance and entertainment change, month by month
Contributions from SIAE's President and Director General
The SIAE 2025 Report is not merely a statistical snapshot of the performing arts, nor simply a tool for those who organise and manage cultural policy in Italy. Above all, it is the living account of a country that continues to recognise itself in culture, creativity and collective participation.
The SIAE 2025 Report portrays a live entertainment sector that has now consolidated its recovery, reaching a new point of equilibrium after years of sharp discontinuity. The figures speak clearly: over 3.3 million events, around 253 million spectators and total spending reaching 4.3 billion euros.
Shows, audiences and spending, region by region
Interactive analysis of live performance and entertainment data
Compare sectors, regions, metrics and trends over time, and create custom charts.