The boundaries of artistic expression have always been fluid, but in Tel Aviv this month, a new collaboration between the award-winning Israeli Opera and a handful of prominent artistic photographers are further blurring the lines between genres.

OPERART, an exhibition of artistic photography in which seven Israeli artists present their personal interpretation of the seven productions that will comprise the Israeli Opera’s 2017-2018 season, opened last week at Tel Aviv’s Noga Gallery of Contemporary Art.

It’s a blending of classical opera and cutting-edge artistic prints, and the results are stirring. Artist Naomi Leshem’s image was inspired by the opera “Dido and Aeneas,” in which a widowed queen falls tragically in love with a Trojan prince. In Leshem’s photograph, a veiled woman stands in a sun-drenched field, her hand nuzzling the forehead of a wolf-dog as a stark hill rises in the foreground behind her — an image that many fans of this opera by English baroque composer Henry Purcell would associate with its final act, where Aeneas leaves Dido forever and the queen of Carthage mourns in the best-known aria of the opera, “Dido’s Lament.”

In Ori Gersht’s take on British composer Benjamin Britten's opera “A Midsummer Night’s Dream,” the idea of dreams is zoomed in on. In his video, Gersht recreates a drop of enchanted water that Oberon, the king of fairies, uses in the drama to alter the vision and memories of his queen, Titania. The video shows the movements of a drop of water, in which there is the face of a young woman, which also becomes animated as the drop moves.