From 22 September, Ultimo – Tutto. Live at Tor Vergata will be released in Italian cinemas. Directed by Giorgio Testi, this special event film brings to the big screen Ultimo’s record-breaking concert, held in Rome on 4 July 2026. The cinematography is by Luca Ciuti CCS.
The figures alone convey the scale of the event: 250,000 spectators filled the Tor Vergata grounds for Ultimo 2026 – La Favola per Sempre, billed as the largest concert ever staged in Italy. Tickets sold out in just three hours. This achievement marks another milestone in a live career which, in less than ten years, has been built on equally impressive figures. Including the 17 dates announced for 2027, Ultimo will have performed 59 stadium concerts and sold more than two million tickets, with ten dates at Rome’s Stadio Olimpico and a concert at the Circus Maximus.
On the recording front, the Roman singer-songwriter has also released seven studio albums and two live albums, earning 85 platinum and 21 gold certifications, selling more than seven million records and amassing over 3.5 billion streams on Spotify.
Ultimo – Tutto. Live at Tor Vergata was conceived to convey the scale and energy of that night on the big screen. The film follows the concert song by song, interweaving footage of the live performance with exclusive backstage material and private moments, recounting both the event itself and the bond Ultimo has built with his audience over the years.
The choice of release date is no coincidence. 22 September is a symbolic date in Ultimo’s world: it is the title of one of his best-known songs, released in 2020 to coincide with the launch of his record label, Ultimo Records, and over the years it has become an anniversary shared with his fans.
Directed by Giorgio Testi, Ultimo – Tutto. Live at Tor Vergata is produced by Ultimo Records in collaboration with Vivo Concerti, with Maestro serving as executive producer. Distributed exclusively in Italy by Nexo Studios, it will be in cinemas from 22 to 30 September 2026.
After bringing together 250,000 people in front of the stage at Tor Vergata, the record-breaking concert now takes on a new dimension on the big screen, through images shot by Luca Ciuti CCS.
Luca Ciuti told us:
‘Making this project was a considerable challenge, first and foremost because of the scale and extraordinary nature of the location. We had to capture an event unlike any other in the history of Italian music, with an audience of 250,000 in an immense space: the stage was 140 metres wide and, including the ULTIMO lettering, reached a height of 60 metres, while the crowd extended up to 700 metres away.’
The main challenge was to convey the scale of the event while also capturing its emotional dimension: the feelings experienced by Niccolò — Ultimo — as he lived through this moment and performed on stage, and those of the audience, who received and experienced them first-hand. We therefore needed to capture both extremely wide shots and very tight close-ups, as well as, of course, the full range of focal lengths in between.
We spent weeks working out the camera positions and determining what we would and would not be able to do, also for logistical and safety reasons. An undertaking of this scale required close coordination with the concert organisers and the company responsible for the lighting design.
In the end, we identified a series of strategic camera positions, each with its own dedicated lens. We ranged from a 9mm lens, used frontally on a dolly to fit the entire stage into the frame — its sheer width meant that even from more than 60 metres away, a longer focal length could not capture it in full — to a 1500mm lens, which enabled us to obtain a close-up of Ultimo wherever he was on stage. Naturally, we also used the full range of focal lengths in between.
To further convey the scale of the event, we also used two drones., which enabled us to capture sweeping aerial shots encompassing the entire audience, as well as a… Technocrane positioned to one side of the stage. Alongside this set-up, however, we wanted to introduce another element. In addition to the cameras operated in a more distinctly cinematic style, we used four or five camera operators with lighter cameras, free to move around close to and within the audience.This was essential because the concert had a distinctive quality: it was profoundly emotional. Despite being a huge show attended by 250,000 people, there was a sense of closeness to the artist. We were able to capture… some extraordinarily intense reactions from the audience. and the powerful bond they share with their favourite artist. Editing these images together with footage of Niccolò on stage enabled us to convey the constant interaction between artist and audience., one of the concert’s defining features. In this way, cinema audiences are emotionally engaged from the very beginning.
It was a difficult and demanding project that required a great deal of time, but the final result was extremely rewarding. Post-production also played an important role. I worked with Jean-Paul Snyder to create a cinematic look, both in the overall rendering of the image and in the colour treatment. We wanted rich colours that would preserve the vitality and energy of the concert without appearing overly saturated.
I believe we succeeded in bringing together two aspects: on the one hand, the scale and celebratory atmosphere of a major event; on the other, a more distinctly cinematic palette and image quality. In my view, it is precisely the meeting of these two dimensions that makes the result particularly interesting.».
