Paolo Miccichè was born in Nettuno, near Rome, in 1960. He graduated in History of Music at the University of Milan. He lives in the Chianti area and teaches Stage Design in Siena. He carried out a long activity as an assistant director in some of the most important Italian theatres, among which the Arena di Verona where he was main assistant. At the Teatro San Carlo in Naples he held the position of Repertory Director.
In 1985 he made his debut as a director with a new production of the opera Così fan tutte by Mozart in Santiago, Chile, with scenes and costumes by Beni Montresor. In 1988 the collaboration with Montresor led to a successful high-tech production of Hansel e Gretel by Humperdink at the Grand Opera in Houston.
His interest in new technology and new materials emerged also in the production of Il finto Stanislao by Verdi in Palermo, which was completely carried out with projected images; in the same way projections and shadow theatre characterized the performance Carnaval, with music by Schumann and Brahms, especially designed for the Teatro Comunale in Florence.
In 1995 he directed a new production of Don Giovanni in Sassari, where once again projections were combined with the use of unusual materials - such as perforated iron plates - and with the conception of an open stage space. In Seoul, Korea he produced Cenerentola by Rossini, characterized by a choreographic use of the movable bridges that form the stage: for example, when the performance begins the orchestra reaches the level of the stage during the crescendo of the overture.
In October 1996 he directed a production of Pagliacci and Cavalleria rusticana at the Grosses Festspielhaus in Salzburg, the latter was carried out with the help of a screen that, by covering the stage completely, four big projectors were able to be used: there was a sort of dialogue between the projected images and the traditional scenery. Also the opera L'Ombra dell'asino by Richard Strauss, performed in Florence in 1999 for the Teatro del Maggio Musicale Fiorentino, was carried out only with back and front projections.
The list of the opera and theatre productions must be completed with the other works in his repertoire, such as La finta semplice by Mozart in Pontedera, Le Nozze di Figaro in Lecce, Attila and Rigoletto by Verdi at the Teatro Romano in Benevento and the intermezzos Dirindina by Domenico Scarlatti in Verona, Erighetta e Don Chilone by Vinci in Palermo and Florence and La lezione di canto elettromagnetica by Offenbach in Montepulciano.
Paolo Miccichè also worked with prose theatre, some of the most important productions being La fabbrica dei sogni, performed in Milan, Rome, Naples and Pontedera. This won the Vetrina ETI prize in 1993. In the summer of 1999 Micciché carried out the translation and the dramaturgy of Madama Butterfly by Belasco in the Courtyard of Castelvecchio in Verona and he was the author and director of the eighteenth-century pastiche L'ammalato immaginario for the Teatro Accademico in Castelfranco Veneto, repeated in Cittadella and in Florence.
On the basis of his previous experiences Micchichè began collaborating with the Operama group, whose opera performances are not only staged in unconventional places, but they are also carried out by using powerful and sophisticated projection machines. As a visual director for Operama Micciché staged innovative productions of Nabucco and Aida, performed in Brussels, Seville, Lisbon, Amsterdam, Zurich, London, Helsinki, Copenhagen, Pretoria and Buenos Aires.
In July 1999 he staged Madama Butterfly by Puccini at the Arena di Verona, and introduced the new language of a performance exclusively carried out with sophisticated dimensional projections and moving lights to Italy for the first time. In January 2000 Madama Butterfly began an international tour in Pretoria, South Africa.
His next engagements include two new productions of Aida by Verdi and Norma by Bellini for the 2002-2003 season at the Washington Opera.