The desire to leave one’s own body and assume a different physical form is an archetype that traverses all eras and cultures. It is reflected in countless legends of gods, spirits, and other beings who can change their form at will and extends from Greek mythology to contemporary fantasy literature. With the development of interactive digital media, this utopia has become (virtual) reality: users often create their avatars not based on their actual physical appearance; they rather prefer to take on the bodies of superheroes, mythical creatures, animals, plants, or machines. This allows a person to overcome the limitations of their own body, age, and biological sex—at least temporarily—and assume an identity that corresponds to their most fundamental and individual wishes and fantasies. At the same time, major corporations are attempting to convert the promises of virtual reality into lucrative business models, conceiving the metaverse as a futuristic open-plan office, escapist living room set, or immersive shopping mall. The opera AVATARA centers on the question of human identity between physical and virtual reality. Two individuals without names, ages, or genders find themselves in different virtual worlds that seem strangely connected to one another. By chance (or fate?) they become aware of each other for a short time and leave their familiar environment to embark on an odyssey through space and time and find their counterparts—and in the process, themselves.