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Romaeuropa, the Festival That Keeps Rome Curious

June 11, 2025

Romaeuropa, the Festival That Keeps Rome Curious

From Villa Medici beginnings to global stages, the Romaeuropa Festival continues to surprise, inspire, and connect audiences

Ballet Nacional de España, Marcos Morau - Afanador - ph Merche - Burgos

Few cities rival Rome for spectacle – but when it comes to cultural programming, the Romaeuropa Festival has carved out a space that is as daring as it is essential. Born in 1986 in the lush gardens of Villa Medici, the event, which lasts two months and a half, has spent nearly four decades bringing dance, theatre, music, and visual arts from around the world into the heart of the Eternal City.

As Romaeuropa celebrates its 40th anniversary, we spoke with Fabrizio Grifasi, Artistic Director and General Manager, about the event’s past, present, and future. From unforgettable moments in Rome’s piazzas to its role as a champion for emerging artists, Grifasi reflects on what makes Romaeuropa unique – and why curiosity remains at the core of its mission.

What have been some of the most significant moments in the festival’s history, and how have they shaped this year’s edition?

Fabrizio Grifasi: The first decade of the festival, from 1986 to 1996, was unforgettable. We opened in June at Villa Medici, then expanded into extraordinary Roman settings like Villa Massimo, Santa Croce in Gerusalemme, Piazza Navona for Bastille Day in 1989, and Piazza del Popolo for the World Cup in 1990. These venues gave the festival a unique character: world-class artists, disciplines ranging from music to dance to theatre, all staged against backdrops only Rome can provide.

When the festival moved to autumn in 1997, we kept this DNA: bringing international artists rarely seen in Rome, supporting a new generation of talent, and weaving ourselves into the city’s cultural network – collaborating with Teatro Argentina, the Auditorium, Palazzo delle Esposizioni, and now even the Opera House. Romaeuropa has always been about strengthening the cultural fabric of the city while offering audiences something new.

This year marks the 40th edition. What excites you most about the program?

(LA)HORDE, Ballet National de Marseille - Chronicles: Estratti da Room with a view e Age of Content - ph AUDE ARAGO

Anniversaries are a chance to reaffirm values. For us, that means being open to the world. Rome has always been a crossroads, and through art and culture we continue that tradition of dialogue. This year we host everything from Taiwanese percussion to African and Brazilian dance, Laurie Anderson from New York, the National Ballet of Spain, the Ballet National de Marseille, a focus on Lithuania, and young Flemish choreographers. It’s a mix of established names and first-time appearances, always with an eye toward generational renewal.

We’re equally committed to Italian artists. Take Fabiana Iacozzilli: first presented at Romaeuropa in 2018, she now returns with a new production co-produced with Teatro Stabile dell’Umbria, already headed for a major national tour. Stories like hers show why nurturing young voices is essential to our mission.

In terms of cultural impact, how do you see Romaeuropa shaping Rome today?

For two and a half months, the festival really defines a season in the city. We present over 100 projects and 250 performances across 20 venues, engaging 60,000 audience members. That’s not only cultural impact but also economic: we employ more than 60 staff during the festival, book thousands of hotel nights, and work with Roman suppliers.

But impact also means diversity. At one concert, you’ll find young audiences discovering new music; at another, families experiencing theatre together for the first time. This ability to bring together different generations, communities, and perspectives is, I believe, vital for Rome.

U-Theatre - Sword of Wisdom - ph Khalid Albusaidi

Looking forward, what challenges and opportunities do you see for the festival?

In today’s climate, when borders seem to be closing and dialogue is harder, our role as an international festival is even more important. We’re determined to keep opening doors – to circulate artists, stories, and aesthetics across countries. We also co-produce with festivals and theatres throughout Europe and beyond, building a network that supports creativity globally.

Another challenge is keeping pace with new languages: technology, interdisciplinarity, hybrid forms. These aren’t just trends; they’re the future, and artists are leading the way. Our job is to accompany them, take risks with them, and help their visions reach audiences.

For someone who’s never been to Romaeuropa, why go?

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Because there’s something for everyone. From big international premieres to a program dedicated entirely to children and families, the range is extraordinary. I’ve seen families who rarely attend theatre moved to tears by a children’s performance. Romaeuropa is about cultivating curiosity – the joy of being surprised, of sharing a special evening with friends or family, of stepping outside your everyday life. That’s what art is for.

And finally – how far ahead are you already planning for next year?

2026 is already quite structured, and we’re sketching lines for 2027. For international collaborations and tours, you have to plan well in advance. For example, with this year’s Jubilee in Rome, we had to book hotels a year ago! It’s a lot of logistics, but also part of the excitement. Taking risks on new productions, betting on young artists – that’s part of Romaeuropa’s DNA.

The Romaeuropa Festival runs from until November 16.

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