ANOHNI, Wilderness at Auditorium Parco della Musica, November 29, 2026

ANOHNI in Rome: she sings on Sunday, November 29, 2026, at 20:00, in the Sala Santa Cecilia of Auditorium Parco della Musica Ennio Morricone, at Viale Pietro de Coubertin 30, with the program Wilderness. It's the artist's only Italian concert. On stage with her are pianist Gaël Rakotondrabe, percussionist Chris Vatalaro and guitarist Leo Abrahams. Voice and films are by ANOHNI, who also creates the video projections. You get there on tram 2 from Piazzale Flaminio (metro A, Flaminio stop), getting off at the Flaminia/Reni or Apollodoro stops, or on buses 910 from Termini, 53 and 982. Tickets start at 50 euros and are bought at the Auditorium box office or on the presale circuit authorized by the organizers, reachable from the purchase button on the concert's official page on the Auditorium website.

There are voices you recognize at the first syllable, and ANOHNI's is one of them: a dark timbre, a wide vibrato, a fragility that doesn't apologize. In 30 years she has won the Mercury Prize, been nominated for an Oscar, sung with Lou Reed, Björk and Franco Battiato, and shown drawings and sculptures in museums around the world. She comes to Rome with a pared-down lineup and a title that's already a statement, Wilderness. Anyone who has heard her live knows it won't be a light evening. It will very likely be one of the most intense of the Roman autumn.

ANOHNI in Rome: the Wilderness concert on November 29

Wilderness is a concert for voice, piano, percussion and electric guitar, accompanied by video projections made by ANOHNI herself, in the Auditorium's largest hall, on the evening of Sunday, November 29, 2026.

What the Auditorium announces

The official presentation describes ANOHNI as an artist who refuses to look away from the most complicated sides of existence and turns them into sound, and the concert as a dialogue with the audience on the borders between singer-songwriter pop, experimentation and civic engagement. Weighty words, but they match what the artist has done in recent years: her concerts are often also statements, on the environment, on the rights of trans people, on everyone's responsibility.

After Sydney and Glastonbury

The Auditorium points out that ANOHNI arrives in Rome after a European tour and after performances at the Sydney Opera House and Glastonbury Festival, warmly received by critics. The British monthly MOJO wrote that her Glastonbury set was «one of the most extraordinary performances Worthy Farm has ever seen». Worthy Farm is the Somerset farm that hosts the festival: coming from people who have been going for decades, it's no polite compliment.

An intimate performance

The lineup is pared down to the essentials. No orchestra, no full band: a piano, percussion, an electric guitar and the voice. In a hall of more than 2,000 seats it's a brave choice, which entrusts everything to the weight of the voice and the power of the projected images.

Wilderness: music and images

The Rome concert combines music and images: the video projections are by ANOHNI, who for years has also worked as a visual artist and director of her own stage work.

The Great Barrier Reef precedent

In 2025 ANOHNI presented at the Sydney Opera House a work titled Mourning the Great Barrier Reef, a lament for the Great Barrier Reef. To prepare it she spent weeks at the Lizard Island research station, filming the state of the reef and interviewing marine biologists about its future. That footage then accompanied the European concerts of the following months, including Primavera Sound and Glastonbury, with large-format projections of the reef between bleaching and abundance.

What to expect in the hall

The detailed program for the Rome evening isn't published, and there's no point pretending to know it. The title Wilderness and the artist's recent path do, though, point in a clear direction: nature, its loss, the way the human voice can take on a collective grief. If you're looking for a setlist of hits you may be thrown. If you accept entering a ritual, much less so.

The musicians on stage with ANOHNI

Three musicians play with ANOHNI: Gaël Rakotondrabe on piano, Chris Vatalaro on percussion, Leo Abrahams on electric guitar.

Piano, percussion, guitar

It's a trio designed to leave room for the voice. The piano holds the harmony and breath of the songs, the percussion works on color more than power, the electric guitar adds long resonances and light distortion. It's a lineup that suits both the Antony and the Johnsons songs, born for a chamber ensemble, and the electronic songs of the solo period, which in this guise lose the machines and gain in nakedness.

A well-oiled group

The lineup is the one the Auditorium gives for the Rome date. After months of concerts around Europe, a group this small arrives in Rome with a rapport you can feel: in such an exposed concert, it's the condition for taking risks.

Who ANOHNI is: the biography

ANOHNI, legal name Anohni Hegarty, was born in Chichester, England, on October 24, 1971. A singer, songwriter and visual artist, she lives between New York and Ireland and was for years the voice of Antony and the Johnsons, now Anohni and the Johnsons.

A childhood between England, the Netherlands and California

In 1977 the family moved to Amsterdam for a year. In 1981 it settled in the San Francisco Bay Area, in San Jose, where ANOHNI attended Lincoln High School, studied music and collected records. Her mother is a photographer, her father an engineer. As a teenager she listened to Kate Bush, Culture Club, Alison Moyet, OMD and above all Marc and the Mambas, Marc Almond's darkest project. In Boy George, she has said, she saw her own reflection.

New York and Blacklips

In 1990 she moved to Manhattan to study at New York University's Experimental Theater Wing. In 1992 she founded with Johanna Constantine the collective Blacklips, later Blacklips Performance Cult: for years she sang in nightclubs over backing tracks recorded on cassette, and wrote and directed midnight shows in the city's avant-garde theater scene.

The Johnsons are born

In 1996, with a grant from the New York Foundation for the Arts, she staged The Birth of Anne Frank/The Ascension of Marsha P. Johnson at Performance Space 122 and called in some musicians to record the songs written in the early 1990s. The group took its name from Marsha P. Johnson, the transgender activist found dead in the Hudson River in 1992. The first concert as Antony and the Johnsons was in 1997, at The Kitchen in New York, inside William Basinski's installation Life on Mars. David Tibet of Current 93 heard the recordings and released them on his label Durtro: the debut album came out in 2000, followed in 2001 by the EP I Fell in Love with a Dead Boy.

I Am a Bird Now and the Mercury Prize

The breakthrough came in 2005. I Am a Bird Now, with guests including Lou Reed, Boy George, Rufus Wainwright and Devendra Banhart, won the Mercury Prize and was chosen as album of the year by Mojo magazine. A year and a half of touring followed across North America, Europe, Australia and South America. The song Bird Gerhl was included in the soundtrack of V for Vendetta.

The Crying Light, Swanlights, Cut the World

In January 2009 came The Crying Light, with arrangements by Nico Muhly, which reached number one on Billboard's European chart. ANOHNI describes it as an album about landscape and the future. In the summer of the same year the group played with orchestras across Europe, including the Lyon Opera Orchestra, the Metropole Orchestra and Roma Sinfonietta. In 2010 came Swanlights, also published as a book with the artist's drawings and collages. In 2012 Cut the World, recorded live with the Danish Radio Orchestra, which contains the monologue Future Feminism on the link between feminism and ecology.

Hopelessness and the name ANOHNI

In 2015 the artist publicly announced the name ANOHNI, which she had used for years in private life, and on May 6, 2016, released Hopelessness, the first album under this name, produced with Oneohtrix Point Never and Hudson Mohawke. It's an electronic and openly political album, preceded by 4 Degrees and Drone Bomb Me, whose video directed by Nabil Elderkin stars Naomi Campbell. Hopelessness was nominated for the Mercury Prize and the Brit Awards. The 2016 tour took ANOHNI on stage with her face covered by a veil, in front of projections of women lip-syncing. In 2017 came the EP Paradise.

The Oscar that wasn't

In 2016 ANOHNI was nominated for the Oscar for best original song with Manta Ray, written with J. Ralph for the environmental documentary Racing Extinction. She didn't attend the ceremony and publicly explained the reasons for her unease at the way the Academy had treated her presence.

The return of the Johnsons

On May 16, 2023, she announced the band's return under the new name Anohni and the Johnsons and the single It Must Change, produced by Jimmy Hogarth. On July 7 came My Back Was a Bridge for You to Cross, with a cover photo of Marsha P. Johnson taken by Alvin Baltrop: The New Yorker chose it as the best album of 2023. The same year Rolling Stone included ANOHNI in its list of the 200 greatest singers of all time. In 2024 the group toured Europe and North America. In November, at the London Jazz Festival, ANOHNI devoted two concerts to the songs of Lou Reed, her friend and mentor.

The visual artist

Alongside music, ANOHNI exhibits drawings, collages and sculptures: a show in Brussels in 2008, then solo shows in London and at the Accademia Albertina in Turin, at the Hammer Museum in Los Angeles in 2012, at the Sikkema Jenkins gallery in New York in 2013. In 2016 she presented My Truth at the Kunsthalle Bielefeld, in 2018 a large installation at Nikolaj Kunsthal in Copenhagen, in 2019 the exhibition LOVE at The Kitchen in New York. In 2023 she was artistic adviser to the Holland Festival in Amsterdam.

ANOHNI's collaborations: from Lou Reed to Björk

ANOHNI's career is studded with collaborations with some of the most important names in music of recent decades, starting with Lou Reed, who was with her from the beginning.

Lou Reed

In 2003 ANOHNI was a backing singer on Lou Reed's Animal Serenade tour and sang on The Raven. In December 2006 she was among the voices of the first complete live performance of Berlin, in New York. On March 6, 2013, at the Salle Pleyel in Paris, she sang Candy Says with him in Reed's last performance before his death. After his passing she wrote that without him her career would never have taken off.

Björk, Hercules and Love Affair, CocoRosie

With Björk she recorded, between Jamaica and Iceland, the duets The Dull Flame of Desire and My Juvenile, released on Volta in 2007, and later sang on Atom Dance in 2015. In 2008 she lent her voice to five songs on the first Hercules and Love Affair album, including Blind, chosen by Pitchfork as the best track of the year. She returned with the same band in 2022 for In Amber, with six songs written together. She has worked repeatedly with CocoRosie, Rufus Wainwright and Laurie Anderson.

Franco Battiato and Italy

Her bond with Italy is a long one. In 2008 she sang Del suo veloce volo on Franco Battiato's album Fleurs 2. On February 14, 2013, she was a guest on the third night of the Sanremo Festival, where she sang You Are My Sister. On September 2, 2013, she shared the stage of the Arena di Verona with Battiato: that evening produced the live album Del suo veloce volo. In 2016 the Hopelessness tour stopped at the Flowers Festival in Turin, then too as her only Italian date.

Tickets for ANOHNI at the Auditorium

Tickets for ANOHNI on November 29, 2026, start at 50 euros and are bought from the concert's official page on the Auditorium Parco della Musica website, which links to the authorized presale circuit, or at the Auditorium box office.

Price ranges

The official page gives only the starting price. In a hall as big as the Santa Cecilia there are many sections, from the stalls to the side and rear galleries: the map with the rates appears at the time of purchase.

The box office

The Auditorium box office, from October to March, is open every day from 11:00 to 20:00, Sundays and holidays included. For information Fondazione Musica per Roma answers at info@musicaperroma.it. Beware of tickets resold outside the official channels: for the only date in Italy, inflated prices are the first risk.

The Sala Santa Cecilia, where ANOHNI sings

The Sala Santa Cecilia is the largest of the three halls of Auditorium Parco della Musica Ennio Morricone, with 2,756 seats, designed by Renzo Piano for symphonic music and inaugurated on December 21, 2002.

A cherry wood sound box

The ceiling is made up of 26 large shells of American cherry wood, each with a surface of about 180 square meters, which make the whole hall a kind of sound box. The stage is wide and a gallery of seats runs all around it, even behind the performers. The reverberation time, 2.2 seconds, is very high by Italian standards.

A voice in a symphony hall

For a voice like ANOHNI's, which lives on nuance and vibrato, a hall born for the orchestra is both an opportunity and a challenge. The advantage is how it renders the softest passages: in this hall the sound doesn't drop after the first rows and stays steady for a long way. To see the projections well, though, a front-facing position is best: the side galleries are close to the stage but look at the screen at an angle.

Renzo Piano's beetles

From outside the three halls look like three huge lead-clad beetles on brick bases, fanned out around the cavea named after Luciano Berio. Piano won the 1993 invited competition and worked with acoustician Jürgen Reinhold of the Müller-BBM firm in Munich and with landscape architect Franco Zagari.

A curious fact about ANOHNI, Wilderness at Auditorium Parco della Musica, November 29, 2026

The nicest curious fact is that ANOHNI has already presented one of her most important works in Rome. In November 2006 Antony and the Johnsons toured Turning, the show born from the collaboration with experimental director Charles Atlas: five cities, and among them Rome itself, along with London, Paris, Madrid and Braga, in Portugal. The concert was accompanied by live video portraits of a group of women from New York's underground scene. The Guardian gave it five stars. Le Monde called it a manifesto concert.

Exactly 20 years later, ANOHNI returns to Rome with another form of concert for music and images. Back then the focus was the faces of women society preferred not to see. Today, very likely, it will be wounded nature, which society prefers not to look at. The subject changes, the method stays: music as an act of attention.

There's a second Roman curiosity. In 2009 ANOHNI recorded Nessun dorma with the Roma Sinfonietta orchestra, for an advertising campaign. The same year the same orchestra was among those accompanying the group's symphonic concerts in Europe. Few of those who enter the Sala Santa Cecilia on November 29 will know that the artist already has a small chapter of history tied to this city's music.

Something nobody tells you about ANOHNI, Wilderness at Auditorium Parco della Musica, November 29, 2026

What nobody tells you is that November 29 is a Sunday, and on Sunday evening the Auditorium changes face. Weekday bus lines don't run: the 168, which on working days connects Tiburtina station to the Auditorium, shouldn't be counted on. That leaves tram 2, the 910 from Termini, the 53 and the 982, with holiday frequencies, which are lower. If you arrive at the last minute you risk finding the door closed: at the Auditorium, for concerts in the large halls, you go in at the start of the concert, and latecomers wait for the first suitable break.

Second thing. A 2,756-seat hall for an intimate concert means many seats will be far from the stage. In the Santa Cecilia the voice reaches everywhere, thanks to the acoustics, but the eye doesn't. With a concert also built on projections, it's best to choose a central seat, even higher up, rather than a closer side seat: the overall view is worth more than distance.

Third thing, perhaps the most important. ANOHNI isn't a background artist. Anyone going to hear the famous song and chatting through the others risks annoying half the hall. The audience at her concerts is notoriously silent, focused, often moved. Go prepared: listen to My Back Was a Bridge for You to Cross beforehand, and read something about the Great Barrier Reef project. You'll arrive in the hall with the right keys.

My advice for seeing ANOHNI, Wilderness at Auditorium Parco della Musica, November 29, 2026

The advice is simple: arrive at the Auditorium while it's light, not in the dark. On November 29 in Rome the sun sets a little before five in the afternoon. If you arrive around half past four, you have time to go up to the cavea and watch Renzo Piano's three beetles change color as the sky fades, go down to the excavations of the Roman villa under the cavea, have a coffee in the foyer without hurrying. At that point the 20:00 concert is no longer an appointment to rush to, but the conclusion of an afternoon.

Second piece of advice, if you're coming as a group: book an early dinner, around 18:00, in the neighborhood or inside the Auditorium, and don't count on afterward. On a Sunday evening at the end of November, after 22:00, finding kitchens open between the Villaggio Olimpico and Flaminio isn't a given. Ponte Milvio, a few minutes away, is the safest fallback.

Third piece of advice: bring an extra sweater. The foyer and the cavea, at the end of November, are open or semi-open spaces, and the waits at the entrance to such a large hall can be long. And if you have a traveling companion who doesn't know ANOHNI, have them listen to Hope There's Someone before going out. They'll understand on their own why it's worth going.

How to get to the Auditorium for the ANOHNI concert

Auditorium Parco della Musica Ennio Morricone can be reached on tram 2, Flaminia/Reni or Apollodoro stops, and on buses 910, 53 and 982. The nearest metro is Flaminio, on line A.

Metro A and tram 2

From Flaminio station you come out onto Piazzale Flaminio and take tram 2, which runs along Via Flaminia toward Piazza Mancini. Get off at Flaminia/Reni or Apollodoro and walk a few minutes toward Viale Pietro de Coubertin, crossing the Villaggio Olimpico. If you're coming from the historic center it's the simplest solution.

The 910 from Termini

Bus 910 leaves from Piazza dei Cinquecento, in front of Termini station, and reaches the Auditorium without changes. If you're staying near the station or arriving by train in the afternoon, it's the most straightforward option.

The 53 and the 982

The 53 connects Piazza Mancini and the center. The 982 comes from Viale XVII Olimpiade area and Quattro Venti station. On Sundays the frequencies are on the holiday schedule: check the times on the transit company's website before going out.

By car

Viale Pietro de Coubertin, in the stretch by the Auditorium, is closed to cars. The complex has an internal paid parking lot, with limited spaces. On high-attendance evenings the streets of the Villaggio Olimpico fill up. For a concert of more than 2,000 people the car is the last choice.

Getting back

The length of the concert isn't published. On a Sunday evening the return trip should be planned: tram 2 toward Piazzale Flaminio, then metro A, or a taxi booked in advance. From Piazzale Flaminio to Piazza del Popolo it's a few steps.

Another well-known fact, yet rarely mentioned

It's known that ANOHNI won the Mercury Prize in 2005 with I Am a Bird Now. It's remembered much less that she came close to the Mercury Prize, the British award for the best album of the year, a second time 11 years later, with Hopelessness, in an edition in which Skepta and David Bowie were also nominated. Two nominations a decade apart, with two very different albums, one chamber and one electronic: few artists can say they convinced the same jury with two such different languages.

Another fact known to fans, and almost never mentioned elsewhere, concerns classical music. ANOHNI has worked with orchestras for a long time: with the Danish Radio Orchestra for Cut the World, with the Manchester Camerata for the staging of The Crying Light at the 2009 Manchester International Festival, with the Lyon Opera Orchestra, the Metropole Orchestra, Roma Sinfonietta. In 2011 she was music director of The Life and Death of Marina Abramović, Robert Wilson's show with Willem Dafoe and Abramović herself. In 2012 she curated the Meltdown Festival at London's Southbank Centre, inviting among others Diamanda Galás, Cocteau Twins, Buffy Sainte-Marie and William Basinski.

That's why a symphony hall like the Santa Cecilia isn't foreign territory for her music. It is, rather, the place where her music is used to breathing.

How to plan the ANOHNI evening

ANOHNI's concert starts at 20:00 on Sunday, November 29, 2026: the evening works well if you get to the Auditorium in the late afternoon and have dinner beforehand.

The afternoon

If you have time you can spend the afternoon in the neighborhood: MAXXI is a few minutes' walk away, and its architecture is the perfect counterpoint to Renzo Piano's. Alternatively, a walk on the Ponte della Musica, toward the Tiber, before it gets dark.

Dinner

Inside the Auditorium there's a bar, a café in the foyer and a bar-restaurant that can also be entered from the street. In the neighborhood, between Via Flaminia and Piazza Mancini, local trattorias and pizzerias. Book for around 18:00: on Sundays neighborhood places fill up early.

After the concert

Ponte Milvio, a few minutes away, is the area that stays lively longest. If you're staying in the center you can go back on tram 2 and walk from Piazzale Flaminio toward Piazza del Popolo, deserted and beautiful on Sunday night.

The right photo to take at ANOHNI, Wilderness at Auditorium Parco della Musica, November 29, 2026

During the concert the phone stays off. That goes for every concert, but for ANOHNI it goes double: her performances live on darkness, projections and silences, and a lit phone screen in a hall of 2,000 people can be seen from everywhere. Besides, at a concert built on images, filming the projected images is the surest way to miss them.

The right photo is taken beforehand. From the top of the cavea, at sunset, you frame the three lead beetles as their lights come on: at five in the afternoon at the end of November the light is low and golden, then within a few minutes it turns blue. If you manage to include the entrance to the Sala Santa Cecilia with the audience starting to arrive, you have the portrait of the evening.

Inside the hall, before the start and if the staff allow it, the shot to take is upward: the 26 cherry wood shells of the ceiling have a geometry that comes out very well in photos, especially with the low lights of a pop concert. Afterward, on the way out, Viale Pietro de Coubertin with the halls lit from below offers an almost abstract image. It's the least obvious photo, and it's the one I'd use to remember an evening like this.

Some important events that happened here in history

The Auditorium area has a much older history than the complex. During the excavations for the foundations the remains of a Roman villa built in the 3rd century BC on the site of a small Archaic farm from the 6th century BC came to light. Renzo Piano had to change the design: two of the three halls were moved west, almost to the Corso di Francia viaduct. The finds are displayed in a small museum under the cavea.

The modern story starts with a demolition. In 1936 the Augusteo, Rome's great concert hall, was torn down, and for more than 60 years Rome remained without an auditorium built for music. After decades of stalled projects, in 1992 the city council chose the Villaggio Olimpico area and in 1993 Renzo Piano won the invited competition.

Construction was long and troubled. On April 21, 2002, the first hall opened, today the Sala Sinopoli. On December 21, 2002, the Sala Santa Cecilia was inaugurated with the Accademia's orchestra conducted by Myung-whun Chung. Since 2003 the Auditorium has been the home of the Accademia Nazionale di Santa Cecilia season, and since 2006 it has hosted the Rome Film Fest. In 2020 the city council decided to name it after Ennio Morricone. In 2014 visitors to the Parco della Musica were estimated at more than 2 million a year, a record among European cultural venues.

Who has passed through ANOHNI, Wilderness at Auditorium Parco della Musica, November 29, 2026

The Sala Santa Cecilia has had important guests from day one. The inaugural concert on December 21, 2002, was conducted by Myung-whun Chung. A few months earlier, at the opening of the smaller hall, composer Goffredo Petrassi wanted to be present to hear his 1931 Overture da concerto. That hall now bears his name. Luciano Berio, who then led the Accademia, gave his name to the cavea.

Over the years the hall has become the home of the Santa Cecilia Orchestra and its conductors, from Antonio Pappano to Daniel Harding, and of great soloists, from Evgeny Kissin on down. In the first months there was no shortage of criticism: conductor Wolfgang Sawallisch said he was puzzled by the acoustics, and during an Ivano Fossati concert problems emerged that required corrections. This too is a useful story to know: the hall was born for the orchestra, but from the start it had to learn to welcome song.

In the weeks of ANOHNI's concert, the Kronos Quartet comes to the Auditorium, in the same hall, with a program for Steve Reich's 90th birthday, on Monday, November 23. In the Sala Sinopoli, on November 19, Kyle Dixon and Michael Stein with the music of Stranger Things. It's an autumn in which the border between classical, experimental and pop is particularly thin at the Auditorium. ANOHNI, who has built her career on that border, arrives as a natural guest.

Accessibility and children at the ANOHNI concert

The Sala Santa Cecilia is raised above ground level and the galleries are reached by two elevators. For accessibility needs it's best to contact Fondazione Musica per Roma in advance at info@musicaperroma.it.

People with reduced mobility

In a hall of this capacity the elevators become a bottleneck in the minutes before the start. The advice is to arrive at least an hour early and ask the staff right away for the elevator route, before a line forms.

With teenagers

An evening ANOHNI concert isn't designed for small children. For a teenager who loves music, and perhaps has questions about the climate crisis or their own identity, it can instead be an experience that stays with them. The entry rules for minors are those of the Auditorium's box office rules.

The neighborhood around the Auditorium

The Auditorium covers about 55,000 square meters between Villa Glori, the Villaggio Olimpico, the Corso di Francia viaduct and Viale Maresciallo Pilsudski, in a part of Rome built in the 20th century.

The Villaggio Olimpico and MAXXI

The Villaggio Olimpico, crossed by the Corso di Francia viaduct, is the neighborhood you walk through after getting off the tram. Near the Flaminia/Reni stop is MAXXI, the national museum of 21st-century arts: together with the Auditorium it forms the city's most important pair of contemporary buildings. Not far away is Teatro Olimpico.

Toward the Tiber and Ponte Milvio

From the Auditorium you go down toward the river and the Ponte della Musica, the pedestrian and bike bridge leading to the Foro Italico. Farther north, past Piazza Mancini, is Milvian Bridge, one of the evening meeting points of northern Rome.

Toward the center

With tram 2 you go back to Piazzale Flaminio and Piazza del Popolo, the gateway to Villa Borghese and the Tridente. For the full history of Renzo Piano's complex, see our page on Auditorium Parco della Musica.

Where to eat before or after ANOHNI

Inside the Auditorium there's a bar and a café in the foyer and a bar-restaurant also accessible from the street, the most convenient solution if you're coming straight there and don't want to risk going in late.

In the neighborhood

Between the Villaggio Olimpico, Via Flaminia and Piazza Mancini there are pizzerias, trattorias and bars frequented mostly by residents. On a Sunday evening, with the concert at 20:00, the right time to eat is beforehand, booking for 18:00.

Ponte Milvio and Flaminio

If you'd rather eat afterward you'll find the widest choice in the Ponte Milvio area, where places stay open late on weekends too. Toward Piazzale Flaminio and Piazza del Popolo the choice is that of the historic center, with historic center prices.

Late November in Rome: the time of year

On November 29 Rome is in full autumn: short days, sunset before five, mild temperatures by day and cool in the evening, and the first Christmas lights starting to come on in the streets of the center. It's the period when the city returns to the Romans, with fewer tourists and more cultural life: between November and December the Auditorium has one of its busiest programs of the year. If you're coming from out of town, a weekend built around this concert is also a chance to see Rome in a quieter season. To stay with great pianists, early in the month the Auditorium hosts Evgeny Kissin and András Schiff. For jazz, there's the Roma Jazz Festival.

Frequently asked questions about ANOHNI in Rome

When does ANOHNI sing in Rome?

ANOHNI sings in Rome on Sunday, November 29, 2026, at 20:00, in the Sala Santa Cecilia of Auditorium Parco della Musica Ennio Morricone. It's the only Italian date of the Wilderness program, a concert for voice, piano, percussion and electric guitar accompanied by video projections made by the artist herself.

How much are tickets for ANOHNI at the Auditorium?

Tickets for ANOHNI at Auditorium Parco della Musica start at 50 euros. They're bought from the concert's official page on the Auditorium website, which links to the authorized presale circuit, or at the Auditorium box office, open from October to March every day from 11:00 to 20:00.

Who plays with ANOHNI in the Wilderness concert?

In the Wilderness concert ANOHNI is accompanied by Gaël Rakotondrabe on piano, Chris Vatalaro on percussion and Leo Abrahams on electric guitar. Voice and films are by ANOHNI. It's a pared-down lineup, designed for an intimate performance despite the size of the Sala Santa Cecilia.

How do you get to Auditorium Parco della Musica on a Sunday evening?

Auditorium Parco della Musica can be reached on tram 2 from Piazzale Flaminio, metro A, getting off at Flaminia/Reni or Apollodoro, or on buses 910 from Termini, 53 and 982. On Sundays holiday schedules apply, with less frequent runs: best to leave well ahead and plan the return.

Is ANOHNI the singer of Antony and the Johnsons?

Yes, ANOHNI is the voice and songwriter of Antony and the Johnsons, the group that won the Mercury Prize in 2005 with I Am a Bird Now. Since 2015 she has publicly used the name ANOHNI and since 2023 the band has been called Anohni and the Johnsons.

How long is ANOHNI's concert in Rome?

The length of ANOHNI's concert in Rome isn't given by Auditorium Parco della Musica. It's best to plan the return without tight time constraints, especially if you use public transportation, which runs on holiday frequencies on Sunday evening.

Can you bring a teenager to ANOHNI's concert?

ANOHNI's concert is an evening concert for adults in its themes and tone, but a teenager passionate about music can experience it as something important. The entry rules for minors are those of Auditorium Parco della Musica's box office rules, available on the official website.

Has ANOHNI played in Rome before?

Yes, ANOHNI has already brought her shows to Rome: in November 2006 Antony and the Johnsons presented Turning in the city, the concert with Charles Atlas's video portraits. In 2009 the artist also worked with the Roma Sinfonietta orchestra.

Final advice on ANOHNI in Rome

If I had to choose a single non-classical concert of the Roman autumn, I'd choose this one. Not because it's the easiest, quite the opposite: it's an evening that asks for attention, silence, willingness to be touched by uncomfortable themes. But voices like ANOHNI's come along only a few times a generation, and hearing her in an acoustic hall like the Santa Cecilia, with three musicians and no superfluous effects, is the best way to understand her. Buy your ticket in time, pick a central seat and arrive at the Auditorium in the sunset light.

Article written by the editorial team of Tour Leader Pro, contact them for Private/Corporate/V.I.P. Tours and Experiences.

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