The Religion of Love. Three Case Studies on the Opera from Theological and Music-Aesthetically Perspectives The opera brings a new dimension to the aesthetics of Europe: the interpenetration of dramatic action and musical form. The relationship of speech and contradiction, errors and ideals, combines itself with the logic of the tones in the succession of rhythm and melody, harmony and dissonance. In this combination, the opera occupies a rank formerly reserved for liturgy. The opera becomes a religious form of art. Religion affirms itself in it, through the unity of action and music, as a religion of love that can cope with death. The present publication - a result of the activities of the working group on theology and music aesthetics of the Protestant Academy Hofgeismar - exemplifies this recognition in view of three prominent operas: Monteverdi's L'Orfeo (1607), Mozart's Così fan tutte (1790) and Wagner's Parsifal (1878). It becomes apparent that the history of music and the history of religion are closely intervowen - and share the same destiny. Skryť popis