PAOLO MICCICHE’

The theatre director Paolo Miccichè has always felt perfectly at ease with the language, the spectacle, in the physical and emotional expression of opera, and a simple and by now remote memory confirms this. On another, more subtle, level, Miccichè then began a continuous research into “the visualisation of an interior world” that characterises the protagonists of these dramas and which marks the most moving and memorable moments of his productions: through the projection of images emerge citations, memories, dreams, nightmares, dejà-vu, illusions. Like music, the flow of these images is evanescent, elusive, transitory: yet these delicate figures, poignant in the subtlety of their continual dissolving and reappearing, hold an exceptional communicative power. Miccichè is years ahead in staging opera as a cultural phenomenon with mass-appeal: the spectators who respond with enthusiasm to his shows can be compared to the hundreds of thousands of people who queue for an art exhibition. If art and culture have the courage to break free from the traditional “designated sites” which, though protective tend to stifle, they would certainly find a ready and willing audience. As the art critic and historian Simon Schama affirms: “They tell us something about the world, about how to live our lives”. Art, music and theatre really can be a part of life, capable of offering us – even when we least expect it – moments of enlightenment on the human condition. And not just that of the characters that walk the boards, but of our very own. (Stefano Zuffi da “Inside The Opera” The Scenographer 2016.)

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