Question: Who portrayed Venus in a 1845 opera about struggle between sacred and profane love, and redemption through love?
Context: Das Kloster ("The Cloister"; full title "Das Kloster.  Weltlich und geistlich.  Meist aus der ältern deutschen Volks-, Wunder-, Curiositäten-, und vorzugsweise komischen Literatur" "The Cloister.  Profane and sacred.  Mostly from older German Popular, Miraculous, Curious and especially Comical Literature") is a collection of magical and occult texts, chapbooks, folklore, popular superstition and fairy tales of the German Renaissance compiled by Stuttgart antiquarian Johann Scheible in 12 volumes, 1845-1849. F. Scott Hess (born July 12, 1955) is an American painter and conceptual artist.  He has described himself as a" reluctant realist" whose work is nevertheless grounded in Old Master craft and the representation of observed detail... Art critic Donald Kuspit suggests, "Hess uses profane realism to represent the sacred moments of life, for he knows we live in a profane world with little or no sense of the sacred, let alone of the sacredness of art". Profanum is the Latin word for "profane".  The distinction between the sacred and the profane was considered by Émile Durkheim to be central to the social reality of human religion. Sacred and Profane Love (Italian: "Amor Sacro e Amor Profano" ) is an oil painting by Titian, probably painted in 1514, early in his career.  The painting is presumed to have been commissioned by Niccolò Aurelio, a secretary to the Venetian Council of Ten, whose coat of arms appears on the sarcophagus or fountain, to celebrate his marriage to a young widow, Laura Bagarotto.  It perhaps depicts a figure representing the bride dressed in white, sitting beside Cupid and accompanied by the goddess Venus. Tannhäuser (] ; full title Tannhäuser und der Sängerkrieg auf Wartburg, "Tannhäuser and the Minnesingers' Contest at the Wartburg") is an 1845 opera in three acts, music and text by Richard Wagner, based on two German legends; Tannhäuser, the legendary medieval German Minnesänger and poet, and the tale of the Wartburg Song Contest.  The story centers on the struggle between sacred and profane love, and redemption through love, a theme running through much of Wagner's mature work. Sacred and Profane Love is a 1921 American silent drama film produced by Famous Players-Lasky and distributed by Paramount Pictures.  This film was directed by William Desmond Taylor and starred Elsie Ferguson with Conrad Nagel.  It is based on a book "The Book of Carlotta" by Arnold Bennett and was turned into a 1920 Broadway play which also starred "Elsie Ferguson".  Writer/director Julia Crawford Ivers adapted the book and play to the screen while her son James Van Trees served as one of the film's cinematographers.  All known copies of this film are lost. Tatiana Troyanos (September 12, 1938 – August 21, 1993) was an American mezzo-soprano of Greek and German descent, remembered as "one of the defining singers of her generation" ("Boston Globe").  Her voice, "a paradoxical voice—larger than life yet intensely human, brilliant yet warm, lyric yet dramatic"—"was the kind you recognize after one bar, and never forget," wrote Cori Ellison in "Opera News".  Troyanos' performances "covered the full range of operatic history" ("New York Times") in an international career of three decades which also produced a variety of memorable operatic recordings, among them "Carmen" (co-starring Plácido Domingo and conducted by Georg Solti), cited by "Classicalite" almost four decades later as "the finest of all "Carmen"s." After ten years based at the Hamburg State Opera, Troyanos became widely known for her work with the Metropolitan Opera beginning in 1976, with over 270 performances (several dozen of them broadcast or televised) spanning twenty-two major roles.  "She was extraordinarily intense, beautiful, and stylish in roles as diverse as Eboli, Santuzza, Geschwitz, Venus, Kundry, Jocasta, Carmen, and Giulietta, in addition to her great 'trouser' roles," said the Met's longtime Music Director, James Levine.  The Met's live telecasts of her "signature" trouser roles, Octavian in "Der Rosenkavalier" and the Composer in "Ariadne auf Naxos", have been preserved on DVD, along with her portrayals of Eboli (in "Don Carlo"), Santuzza (in "Cavalleria rusticana"), Venus (in "Tannhäuser"), and Didon (in "Les Troyens"). The sacred–profane dichotomy is an idea posited by French sociologist Émile Durkheim, who considered it to be the central characteristic of religion: "religion is a unified system of beliefs and practices relative to "sacred things", that is to say, things set apart and forbidden."  In Durkheim's theory, the sacred represented the interests of the group, especially unity, which were embodied in sacred group symbols, or "totems".  The profane, on the other hand, involved mundane individual concerns.  Durkheim explicitly stated that the sacred–profane dichotomy was not equivalent to good/evil.  The sacred could be good or evil, and the profane could be either as well. The Opening of the Fifth Seal (or "The Fifth Seal of the Apocalypse" or "The Vision of Saint John") was painted in the last years of El Greco's life for a side-altar of the church of Saint John the Baptist outside the walls of Toledo.  Before 1908 El Greco's painting was referred to as "Profane Love".  Cossio had doubts about the title and suggested the "Opening of the Fifth Seal".  The Metropolitan Museum, where the painting is kept, comments: "the picture is unfinished and much damaged and abraded." The Sacred and Profane Love Machine is a novel by Iris Murdoch.  Published in 1974, it was her sixteenth novel.  It won the Whitbread Novel Award for 1974.
Answer: Tatiana Troyanos