Current Affairs

Major concerts: what TicketOne is and how it works – a pioneering ticketing platform

Ticketone is at the heart of the Italian summer – and beyond. From organising Ultimo’s massive event to the fight against the secondary ticket market, here’s how the leading ticketing platform works

Concerto di Ultimo  a Tor Vergata, Roma 4 luglio 2026.  Ansa

3' min read

Translated by AI
Versione italiana

3' min read

Translated by AI
Versione italiana

First, the 250,000 spectators who packed Tor Vergata for Ultimo’s concert; then the advance ticket sales for Vasco Rossi’s 2027 stadium tour and the major international events of the summer; from Firenze Rocks to Rock in Roma, from the Roma Summer Fest to I-Days Milano and right through to the Lucca Summer Festival, there is one name that has been appearing on the screens of millions of Italians for years: TicketOne. It is the platform through which the bulk of the ticketing market for concerts, sporting events, theatre performances and cultural events in our country passes.

Founded in 1998 in Milan and owned by the German group CTS Eventim since 2007, TicketOne was the first Italian company to specialise in ticket sales via a digital platform. Today, it is the leading Italian operator in the sector; it is listed on the Frankfurt Stock Exchange through its parent company, CTS Eventim, and in 2025 recorded a turnover of approximately 130 million euros. The company has around 140 employees spread across its two Italian offices and sells millions of tickets every year through a multi-channel sales system.

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The company operates in numerous sectors of the entertainment industry. In the music world, it works with all the leading Italian promoters, whilst in sport it manages ticketing for major competitions and federations, including the Italian Tennis Federation and the Italian Rugby Federation. It also handles ticket sales for 23 football clubs across Serie A, Serie B and Lega Pro, as well as the circuits hosting the Italian rounds of Formula 1, MotoGP and Superbike. Its offering also includes theatres, musicals, cabaret, family shows, summer festivals, exhibitions and museum circuits, many of which are managed through its subsidiary TOSC. Furthermore, the group’s activities are not limited to ticket sales: CTS Eventim also invests in the management of infrastructure for live performances and has recently acquired the Arena Santa Giulia in Milan, which is set to become Italy’s largest venue.

How the platform works

For almost 30 years, hundreds of event organisers have entrusted TicketOne with managing their ticket sales, working together to establish marketing strategies, pre-sale schedules, pricing and any dedicated phases for fan clubs or affiliated customers. The platform collects ticket sales revenue from the public and subsequently transfers it to the organisers, supporting a wide range of payment methods, including credit cards, PayPal, Klarna and Satispay.

Tickets are sold via the official website, the app, authorised outlets or by telephone, depending on the event.

When demand is very high – as is the case with the most popular artists – the virtual queue kicks in. This is a system that manages access by placing users in a digital queue to prevent the servers from becoming overloaded. Once on the platform, users have a limited amount of time to complete the purchase process before the selected seats become available again.

The Ultimo Case

Ultimo’s “La favola per sempre” concert at Tor Vergata, attended by around 250,000 spectators, was one of the most complex events ever managed by the platform. “The organisational process went far beyond simply selling tickets,” explains TicketOne’s managing director, Andrea Grancini. “For events of this scale, we first discuss the strategy to be adopted with the organisers. In Ultimo’s case, once tickets had been sold, we supported ticket holders by gradually providing all the information they needed to reach the venue. We also invited ticket holders to check in so that we could gather detailed information and understand their needs.”

Following the massive concert, there was no shortage of controversy regarding the exodus from the Tor Vergata area. In particular, on social media, numerous spectators reported that it had taken them a long time to leave the area, having to walk long distances before reaching car parks, shuttle buses or public transport stops. The inconvenience mainly affected those who had travelled from outside Rome and those who had left their cars in the most distant car parks. According to Grancini: “Despite the huge number of people, the dispersal took place in about an hour and spectators were able to enjoy the concert in complete safety within the venue. There were no emergencies.”

Furthermore, a few days before the event, the Rome branch of the Guardia di Finanza had ordered the takedown of a website used for the fraudulent sale of tickets for the concert. To combat the issue of secondary ticketing, TicketOne reminds the public of the existence of FanSale, the official platform for reselling tickets at capped prices. “Unfortunately, unauthorised platforms do exist and we continue to report them. We urge people not to use them,” concludes Grancini.

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