His debut as director was in Santiago (Chile) in 1985,
with a new production of "Così fan tutte" by Mozart designed by Beni Montresor.

Following which Miccichè and Montresor collaborated
on the 1988 high-tech production of Humperdinck's "Hansel and Gretel" at the Grand Opera of Houston,
which was Miccichè's American debut.
His interest in new technology and new materials continued in Palermo (Italy)
with Verdi's "Il finto Stanislao" ,
which used projected images instead of scenography.

Using the same process and "shadow puppetry",
he created "Carnaval",
a show with music by Schumann and Brahms,
realized for the Teatro Comunale of Florence (1993).

In Sassari (Italy), in 1995, he directed a new production
of Mozart's "Don Giovanni"
(set designer Antonio Mastromattei)
where he used projections combined with unusual materials
- such as pierced iron plates - und an unconventional use of stage space.

In Seoul (Korea) - also with Mastromattei's scenery - he staged
a Rossini's "Cenerentola",
which used the stage lifts for a "frenetic ballet",
opening with the rising of the Orchestra from the pit during the crescendo of the Overture.

In 1996 he staged a production of "Pagliacci"and "Cavalleria rusticana"
at the Grosses Festspielhaus in Salzburg;
"Cavalleria" was performed with the aid of a screen that covered all the front of the stage.
It allowed the use of four big projectors that realized
a "dialogue" between the images and the traditional set.

His other credits, all in Italy, include:
"La finta semplice" (Mozart) in Pontedera,
"Le Nozze di Figaro" (Mozart) in Lecce,
"Attila"(Verdi) for the Roman Theatre of Benevento,
"Rigoletto" (Verdi) for the Roman Theatre of Benevento,
"The Donkey's Shadow" (R.Strauss) in Florence
"L'abandon d'Ariane" (Milhaud) in Florence
Il Matrimonio Segreto (Cimarosa) in Orvieto

In 1994 he found the Musical Association "La Terza Prattica"
that produces chamber operas and plays connected to the music;
among the others :

"Dirindina" (Domenico Scarlatti) inVerona;
Vinci's " Erighetta e Don Chilone" in Palermo and Firenze;
Offenbach's "La lezione di canto elettromagnetica";
Belasco's "Madama Butterfly"
he is preparing Padre Martini's l'intermezzo "Don Chisciotte"

His Drama credits
include "La fabbrica dei sogni", taken from a novel by Hrabal.
The audience was placed on stage,
the performance taking place in front of the Cinema screen,
on to which images were projected.
It was performed in Milan, Rome and Naples, winning the Vetrina ETI '93 prize.

He has written and directed in Verona the show
"Suo affezzionatissimo Baron Codadiporco",
drawn by Mozart's letters to his cousin.

Miccichè continued his work of visual experimentation
collaborating with Operama between 1996 and 2000
These productions were staged in unconventional Arenas,
using powerful and sophisticated projection technology.
Productions include "Aida" and "Nabucco"
performed in Sevilla, Lisbon, Amsterdam, Bruxelles,
Buenos Aires, Zurich, London, Copenhagen, Helsinki, Pretoria.

Miccichè Italian's debut with this technology
was a new production of Puccini’s "Madama Butterfly"
for the Arena di Verona in July 1999.
It was performed in Pretoria (South Africa) in January 2000.

In July 2002 he stages, for the Ravenna Festival,
Arena di Verona e il Teatro dell'Opera di Roma,
the multimedia show "Dante-Symphonie" by Liszt
for two pianos, chorus, actor and projections.

In February 2003 he debuted - as stage and visual director -
with a new production of Verdi's "Aida" for the Washington Opera,
welcomed by audience and critics for its innovative language.

In June 2003 he has been the visual director
of Verdi's "Il Trovatore"
for the Ravenna Festival with the direction of Cristina Mazzavillani Muti;
utilizing the old theatrical space as an acquarium of images inside of which
the action of all the singers takes places.

In October 2003 he directed a new production of
Bellini's "Norma" for the Washington Opera, at the Constitution Hall,
that was rethought last March
for the taditional stage of Teatro Carlo Felice in Genova.

In July 2005 Micciche' created
a new production of "Aida", conducted by Placido Domingo,
in the open space of Terme di Caracalla in Rome.

Again with Mr. Domingo, as a conductor,
he staged and visual directed a new production
of Verdi's "Vespri Siciliani"
that opened the 50th Anniversary Opera Season
of the Washington National Opera.

Per la Baltimore Opera realizza quindi La Forza del destino di Verdi
dove recupera, attraverso le proiezioni, i bozzetti di una visionaria edizione di Nicola Benois
per la Stagione della Scala del 1948.
Ancora a Baltimora ritorna con l'adattamento al chiuso della
Madama Butterfly di Puccini creata per l'Arena di Verona

In 2007 is the Visual director of La Divina Commedia, l'Opera by Marco Frisina,
realaborating the famous images by Gustave Dorè
with 3D effects and movement to involve the audience in the famous Dante's journey

In 2009 is Stage and Visual director of a very new production
of Mascagni's Cavalleria Rusticana for the Teatro Lirico di Cagliari
The show has been perfomed in different squares of Sardinia that become the natural set of the opera
The Church in the square received onto it architectural projections following the dramatic sequence
except where the church is itself according to the libretto.

Last years habe been dedicating mostly to a new kind of show: the Architectural Live Show
that uses visual and sound effects to involve deeply the people in a sorrounding show
that take place inside open air spaces like squares, ancient and modern buidings, gardens and so on

Among the others Paolo Miccichè created Romagnificat in 2009 e 2010 for Roma's Birthday
at Mercato di Traiano and Piazza del Popolo
as well as the indoor visual show Farinelli, Estasi in Canto created by director Anna Cuocolo
projecting for the first time onto the famous Ara Pacis in the heart of Rome