A highlight of [Barenboim's] 1995 "Tristan" recording is King Marke's Act II monologue, where he tenderly conducts a noble Matti Salminen. But at the pivotal moment earlier in the act, where the lovers are reunited, the music rushes impetuously through the scene without deeply taking hold. Mr. Barenboim, of course, doesn't have the Isoldes of the past. The truest emotional record of that moment remains, to these ears, that of Kirsten Flagstad on the 1952 Furtwängler recording (on EMI); despite less than ideal casting, with Ludwig Suthaus as Tristan, the music — to resort to Wagnerian cliché — achieves the kind of transcendence the moment requires [emphasis ours].Excuse us? A "Wagnerian cliché" to use the word transcendence here(!)? We of course understand Ms. Midgette's preemptive self-defensive apology for her use of the word as it's used often in connection with any number of things having to do with Tristan, but calling the word's use here a cliché does Wagner, Tristan, and, in this case, Furtwängler a deep injustice. What other word would serve better or even just as well? None we can think of. There's simply no help for it.