This paper aims to demonstrate how the use of new technologies in contemporary operas makes it possible to revisit the genre of opera, by suggesting a new hierarchy of its constituent parameters, such as the audio and visual components, as well as its set design, production site, and listening mode. To illustrate this new hierarchy, I examine three recent and innovative works as case studies: EROR (The Pianist) (2019), an opera without singing by Georgia Spiropoulos; Invisible Cities (2013), an opera for headphones by Christopher Cerrone, and Laila (2020), an interactive work developed by Opera Beyond, a project hosted by the Finnish National Opera. This analysis shows how works succeed in confronting the social and musicological definitions of opera without, however, generating a new definition.