In an eclectic hermeneutic and transmedial approach, this chapter analyses the futuristic worlds constructed in two science-fiction operas that diverge from the traditional opera libretti that hark back to the past. In Menotti’s 1968 Help, Help, the Globolinks! humanity is threatened by an alien species whose only vulnerability is to classical music. The first production futuristically displayed Globolink-costumes mimicking Munari’s Eel-Trap Lamp, and spark-spitting sculptures created by cybernetic-kinetic art pioneer Nicolas Schöffer. Symbolically, electronic music is the ultimate threat to culture, and it is classical music that can heal a world that has “forgotten how to sing.” Tod Machover’s 2010 Death and the Powers was composed by the head of the MIT Media Lab’s Opera of the Future group. In this transmedia opera, Simon Powers uploads himself into his environment. Librettist Robert Pinsky resorts to the tradition of the play within a play. The narrative is transhuman, posthuman, and post-organic. Trying to understand the term death, the robots that have replaced human beings download memories and stage Simon’s ritual drama with AI-recreated characters. Technologically, this work is revolutionary, as 40 computers are required, and MIT created an Operabot Chorus for it. The production showcased Disembodied Performance, and two surround sound formats were used. Groundbreaking strategies build the unique storyworld of an opera that preserves all the values of classical music. Nevertheless, the conclusion of the libretto is sinister, as liberation from ‘the meat’ does not lead to the anticipated freedom to love and help mankind, but to the rejection of humanity. The chapter concludes that, in these SF operas, metamorphosing into new alien species or abandoning humanity for technology are not considered valid solutions to the crisis of mankind, and that salvation can only come from retrieving traditional values in order to thwart the advent of a literal posthuman age.