Mozart, l'opéra rock ("Mozart, the rock opera") is a French musical with music by Dove Attia, Jean-Pierre Pilot, Olivier Schultheis, William Rousseau, Nicolas Luciani, Rodrigue Janois and François Castello, lyrics by Vincent Baguian and Patrice Guirao and a book by Attia and François Chouquet.

A local copyist meets them, already aware of Wolfgang's musical prestige, and offers to copy all of his compositions free and help him distribute them for a small condition – coming to visit his family.

The copyist is Fridolin Weber – Cecilia's husband – and they intend to have Wolfgang help them prepare their daughter, Aloysia, for a ball for the Princess of Orange to boost her fame.

Upon the appearance of Aloysia (Bim Bam Boum), Wolfgang falls head over heels and forgoes his other commissions to help her prepare for her showcase to the Princess.

Anna Maria, seeing that her son is prepared to throw away his musical career over his love of Aloysia, writes home to Leopold in the hopes that he will be able to snap Wolfgang out of his enamored state.

At the ball, Wolfgang and Aloysia display their respective musical talents, while Fridolin and Cecila attempt to get the Princess of Orange to take an interest in their daughter.

Wolfgang returns to announce that Aloysia will, indeed, be employed with the Princess of Orange and seems prepared to dedicate his life to her when Anna Maria arrives with a letter from Leopold (J'accuse mon père).

With lingering hatred she mocks his mourning clothes, seeming unaffected by the death of his mother, and when Wolfgang confesses that he wants to marry her she tells him that she is engaged to the actor Joseph Lange.

Wolfgang has returned to Salzburg under the service of Colloredo and is preparing to leave for Vienna with the archbishop to pay homage to the newly crowned Joseph II.

When Wolfgang attempts to reason with him, Colloredo will hear nothing of it and tells him to go join the other servants – who proceed to mock him alongside a clown-like representation of his own doubt (Comédie-tragédie).

The scene moves to Antonio Salieri, walking with Rosenberg, the Steward to Emperor Joseph II, and Gottlieb Stephanie, a librettist who has recently finished his piece The Abduction from the Seraglio.

Upon the appearance of the Emperor, Rosenberg attempts to discourage him from choosing Wolfgang as the composer for his commission on the basis of his desire to use German instead of the more traditional Italian.

He asks for the opinion of Salieri, already a well-known composer of the court, who appears to agree with the idea that Wolfgang is foolish, but also concedes that he is infinitely talented.

It is here he is re-introduced to Constanze, who has apparently decided to give up on love as she puts far too much into her relationships and is left heartbroken when they do not work out (Si je défaille).

After she leaves, Josepha and Sophie bombard him with questions about his new-found success in Vienna until Constanze intervenes and leads him to his room to get some rest.

When they arrive, Monsieur Stephanie attempts dissuade them, but they press on anyway and discover that Wolfgang is distracted from his work, instead chasing Constanze and demanding a kiss.

Salieri stays behind to listen, and is overcome by the beauty of Wolfgang's work and the skill he displays (Le bien qui fait mal).

After the success of The Abduction from the Seraglio, Wolfgang enjoys a celebration with his friends and wife where they mock Salieri and Rosenberg's attempts at upsetting the show.

Da Ponte initially refuses, wary of the trouble it could cause, but is swayed when Wolfgang explains that he associates not with radical politics, but the triumph of Figaro as a free man.

At the rehearsal several months later, Joseph is frustrated to find that his opera has no music, and Wolfgang explains that Rosenberg has crippled his finale by declaring that the use of ballet has been forbidden by the Emperor.

He laments his inability to compare with Wolfgang's talent despite dedicating himself to his music day and night, and, driven nearly to madness with jealousy and impending guilt, Salieri attempts to commit suicide (l'Assasymphonie).

As friends of Wolfgang, including Constanze and Aloysia, are celebrating the success of The Marriage of Figaro, Rosenberg appears to tell them that, at the order of the Emperor, the opera has been banned in Vienna.

This begins a downward spiral for Wolfgang, starting with his distraction while he and Da Ponte attempt to recover from the failure of Figaro with a new opera, Don Giovanni, due to his father being ill.

In another part of Vienna, a party has gathered to celebrate Salieri obtaining the title of choirmaster of the Imperial Chapel as well to as mock Wolfgang's latest opera The Magic Flute.

Although he has achieved everything he wanted, Salieri is bitter about the victory over Wolfgang and spiteful towards himself, knowing it was obtained through underhanded means (Victime de ma victoire).

[citation needed] Six music videos were made to accompany the show: Tatoue-Moi, Vivre à En Crever, L'Assasymphonie, Le Bien Qui Fait Mal, J'accuse mon père and C'est bientôt la fin.

[citation needed] The 2013 Japan production released two CDs, featuring the two casts in which Akinori Nakagawa and Koji Yamamoto alternated the roles of Mozart and Salieri.

Le Figaro praised the lighting and certain "innovations" in the staging, but also noted "the mediocre sound, an inconsistent libretto and uneven casting," stating that Mikelangelo Loconte's performance at Mozart was at once over-the top and "disembodied.

[3] France Soir described the show as "lacking genius and impertinence," weighed down by "a disjointed first act," "simpering" female characters and a "fidgety" Mozart.