Behind the comic plot of La Finta giardiniera lies a subtle portrait of human passions. Sandrina, a Marchioness disguised as a gardener, is seeking to escape her tumultuous past: she was stabbed by her lover, Count Belfiore, and left for dead. Reunited in the local judge’s mansion, the former lovers find themselves embroiled in a series of quiproquos and disguises, before everything is unravelled in a happy reconciliation. In 1775, aged just eighteen, Mozart composed La Finta giardiniera for the Munich Carnival. The young composer skilfully blends recitative, arias and ensembles, already revealing the humour and humanity that would characterise his future masterpieces. This opera is performed by the Paris Opera Academy’s artists in residence in Julie Delille’s new staging.

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La Finta giardiniera, on stage from 24 March to 1st April 2026 at the MC93 Bobigny

Behind the comic plot of La Finta giardiniera lies a subtle portrait of human passions.Sandrina, a Marchioness disguised as a gardener, is seeking to escape her tumultuous past: she was stabbed by her lover, Count Belfiore, and left for dead. Reunite

Wolfgang Amadeus Mozart

La Finta giardiniera

Wolfgang Amadeus Mozart was born on January 27, 1756, in Salzburg. A child prodigy (he took his first harpsichord lessons when he was 4 and began composition at 6), he quickly became famous, thanks to the many tours he made with his father, Leopold, who was himself vice chapel-master at the court of the Prince-Archbishop of Salzburg, as well as a mentor and teacher to his son. At the age of 16, Mozart was appointed concertmaster to the new Prince-Archbishop of Salzburg, Hieronymus von Colleredo. He was commissioned to compose works to the tastes of his day and asked to perform. But he quickly grew tired of the confining environment of Salzburg and, in 1777, he resigned his position at the court. In 1779, he became the resident organist at the Salzburg cathedral, then settled in Vienna. He performed for the Court, gave music lessons and piano concerts, while being vice chapel-master at the cathedral. His Don Giovanni was a huge success in Prague but was poorly received in Vienna. Mozart's health was declining and he spent the last years of his life in poverty. He died on the night of 5 to 6 December 1791: he was not yet 35 years old. He was buried in a common grave, due to sanitary measures but also because of his family's destitution. In spite of his early death, Mozart created in 30 years one of the greatest legacy in music history, comprising classical masterpieces in almost every musical genre: opera, sacred music (including his famous Requiem), symphonic, concert or chamber music... His operas include some early works such as La Finta semplice, Mitridate re di Ponto, Lucio Silla, or La Finta giardiniera. Composed in 1781 Idomeneo started to reveal Mozart's personality. Then Il Seraglio, composed the next year, marked his true independence as an artist and the beginning of his mature masterpieces: Le Nozze di Figaro in 1786, Don Giovanni in 1787, The Magic Flute in 1791. With La Clemenza di Tito Mozart returned to the seria genre.

A native of Montpellier, Chloé Dufresne studied voice, viola, and choral conducting before earning a master's degree in orchestral conducting from the Sibelius Academy in 2020. Winner of the Malko and Besançon conducting competitions in 2021, she is conductor-in-residence at the Lucerne Festival in 2022, Dudamel Fellow at the Los Angeles Philharmonic in 2022-2023, and conductor-in-residence at the Académie de l'Opéra national de Paris in 2023-2024. In September 2024, she was appointed Associate Artist of the Orchestre national de Bretagne and Artistic Director of the Orchestre Ostinato.In recent seasons she has debuted with the Vienna Symphony, Tokyo Philharmonic, Orquesta Sinfónica de RTVE, Munich Philharmonic, Hong Kong Philharmonic, Orchestre philharmonique royal de Liège, Gävle Symfoniorkester and Nordwestdeutsche Philharmonie. Chloé Dufresne regularly conducts in France, working with the Orchestre national de France, Orchestre de Chambre de Paris, Orchestre national de Bordeaux, Orchestre national de Lille and Orchestre de l'Opéra de Montpellier.She conducts several orchestras in Scandinavia, including the Helsinki Philharmonic Orchestra, the Finnish Radio Symphony Orchestra and the Norwegian Radio Orchestra. Her experience as a vocal and choral conductor led her naturally to opera. She has conducted Don Giovanni, Norma, Britten's Albert Herring and Offenbach's Pomme d'Api for the Opéras de Rouen, Toulon, Nice and the Opéra national de Lorraine, as well as a production of the Ring for children in Bayreuth and at the Helsinki Festival. Last season she conducted a new production of L'Élixir d'amour at the Angers Nantes Opéra, Faust at the Opéra de Vichy and Le Voyage dans la Lune at the Opéras de Massy, Metz, Reims and Rouen.

A graduate of the École de la Comédie de Saint-Étienne, Julie Delille worked there under the direction of Jean Claude Berutti, François Rancillac and Jean-Marie Villégier. After several years as a performer and drama teacher (Conservatoire d'Orléans, Université d'Angers), she decided to devote herself to directing. In 2015, she founded the Théâtre des trois Parques around themes dear to her heart - living, languages and the female figure.In 2018, she created Je suis la bête by Anne Sibran (Printemps des Comédiens, Festival Impatience, MC93...), the same year Le Journal d'Adam et Eve by Mark Twain. Seul ce qui brûle by Christiane Singer in 2020, presented at the TGP in Saint-Denis, the CDNs in Limoges, Tours, Orléans, Valence and elsewhere. In 2023, Le Métier du Temps - La Jeune Parque after Paul Valéry and La très Jeune Parque by Alix Fournier-Pittaluga were presented at the Gallia Théâtre in Saintes, then at the MC in Bourges and the Théâtre Nanterre - Amandiers.In 2024, she directed Und, after Howard Barker, composed by Daniel d'Adamo, with Ensemble TM+ (Opéra de Massy, Maison de la Musique de Nanterre). In the same year, she premiered William Shakespeare's The Winter's Tale at the Théâtre du Peuple.Julie has been an associate artist at the Scènes Nationales de Châteauroux, Bourges and Blois, and at the CDN de Limoges, where she worked at the Académie de l'Union. In 2023 and 2024, she will be working with young performers from the Belle Troupe des Amandiers in Nanterre. Then with students from the Académie de l'Opéra national de Paris, with whom she will stage La Finta Giardiniera at the MC93.Julie Delille is director of the Théâtre du Peuple de Bussang.

Clémence Delille is a set and costume designer who will graduate from the École du Théâtre National de Strasbourg in 2019. A graduate of the Atelier de Sèvres in Paris and the Haute École des Arts du Rhin in Strasbourg, she regularly works with the set and costume workshops for the shows Meurtres de la princesse juive, eddy, and Les Disparitions - tandis que le monde brûle. In 2015, she founded the Théâtre des trois Parques with Julie Delille, with whom she collaborated on Je suis la bête (Equinoxe, 2018), Paul Valéry's La Jeune Parque and Alix Fournier Pittaluga's La Très Jeune Parque (2023). At the Théâtre du Peuple de Bussang, she designed the sets for Le Conte d'Hiver (2024) and Hériter des Brumes (2025).With Edith Biscaro and Eddy D'aranjo, she founded the company Objet Bleu et Brutal. Their first show, Après Jean-Luc Godard - je me laisse envahir par le Vietnam, premiered in 2021 at La Commune - Centre dramatique national d'Aubervilliers. In February 2026, they create Triste Tigre at the Odéon-Théâtre de l'Europe. Clémence Delille works with Caroline Arrouas (Delphine & Carole, soon to be Dora et Franz) and regularly with Pascal Rambert (Mont Vérité, Architecture, Dreamers et Dreamers #2, Perdre son sac, Finlandia), Madeleine Louarn and Jean-François Auguste (Opérette, Gulliver ou le dernier voyage, to be premiered at the Festival In d'Avignon in 2021, soon to be L'amour, l'amour, l'amour).

Elsa Revol is a lighting designer for theater, opera, circus and performance. At Théâtre du Soleil, which she joined in 2007, she designed the lighting for Les Naufragés du Fol Espoir (collective creation, 2010) and Shakespeare's Macbeth directed by Ariane Mnouchkine (2014), and accompanied the lighting design for Une Chambre en Inde (2016).She was the lighting designer for Le Jeu de l'amour et du hasard by Marivaux and Le Tartuffe by Molière directed by Galin Stoev (Comédie-Française, 2014). She then lit Shakespeare's Othello for Léonie Simaga (2014) and Faust directed by Valentine Losseau and Raphaël Navarro (2018) at the Théâtre du Vieux-Colombier. Her artistic collaboration with Galin Stoev continues with Marivaux's Le Triomphe de l'Amour (Théâtre Gérard Philipe de Saint-Denis, 2013), Yana Borissova's Les Gens d'Oz (La Colline - théâtre national, 2016), Yvan Viripaev's Insoutenables Longues Étreintes (Théâtre de la Cité de Toulouse, 2018), Marivaux's La Double Inconstance (2020), Brateberg's IvanOFF (2021) and Checkov's Uncle Vanya (2023).She met Wajdi Mouawad for the creation of Fauves (La Colline - théâtre national, 2020). Elsa Revol collaborated with Julie Delille for the lighting design of Je suis la Bête (Equinoxe, 2018), Seul ce qui brûle (Maison de la Culture de Bourges, 2020), La Jeune Parque by Paul Valéry and La Très Jeune Parque by Alix Fournier Pittaluga. She recently designed the lighting for Le Conte d'Hiver at the Théâtre du peuple de Bussang. Her operatic creations include Les Noces de Figaro, directed by Galin Stoev (2015) and Der Freischutz, staged by the compagnie 14:20 under the musical direction of Laurence Equilbey.

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La Finta giardiniera, on stage from 24 March to 1st April 2026 at the MC93 Bobigny