This article is based on the analysis of an opera created for television (Labyrinth, Gian Carlo Menotti, 1963), an opera including a virtual reality segment, and an interactive opera, streamed on YouTube (Orpheus vr and Live from the Underworld, Debi Wong, 2021); the aim is to study the representation of performing bodies and their resulting perception. I endeavour to demonstrate that operas making full use of media specificities such as editing, overprinting, 3D design, and immersion can respond to certain issues raised by critics and theorists, including the impression of strangeness when confronted with close-ups, the limitations of the frame, and the loss of a sense of presence.