Luisa Miller

Verdi's opera takes place in two worlds: in a Tyrolean village and in the feudal lord's castle. Director and set designer Philipp Grigorian visualizes the village idyll through the "workers' paradise" of a company where Luisa and her father are employed. And Count Walter plans his mafia machinations in a swanky sauna. Walter's son Rodolfo has disguised himself as if he were one of the workers in order to be close to Luisa, with whom he has fallen in love. But in doing so, he irresponsibly endangers the young woman and her father, as Count Walter has chosen a completely different partner for his son: the powerful Federica, who gets out of a pink stretch limousine and is not prepared to give up Rodolfo. We experience the whole play not in a realistic aesthetic, but from the memory of the father Miller, who survived the death of his daughter and remembers the events as if in a surreal nightmare. This dream combines the most diverse associations - we experience the toxic events reported in Verdi's opera as a psychedelic graphic novel.