On March 11, 2017, the creation of Another Brick in the Wall—The Opera by composer Julien Bilodeau took place in Montreal. Performed by the Opéra de Montréal in context of Montreal’s birthday for its 375th anniversary, the work was deployed through an amazing campaign of advertising in addition to the attention given by the media, as it was never been the case before for a creation of that kind in Montreal. That attention was also the result of the classical crossover at the core of the work, namely the metamorphosis of The Wall into a truly opera with the agreement of its principal leader Roger Waters. The opera composed by Bilodeau is then at the confluence of a plethora of questions in front of The Wall, these questions being on the side of production through the composer’s choices for musical language as well as on the side of reception though the crossover of conventions from opera and rock. The article addresses these questions regarding the phenomena of classical crossover between opera and rock, Bilodeau’s score and the critiques published in the aftermath of the première.