Music for Richard Wagner is a form of language that transports contents without words, being of a higher—metaphysical—dignity than its spoken or written form. Music, he thought, aims at evoking natural feelings, true feelings that had been blocked as a result of domination of the language of the word. According to Wagner, great art has to evoke such true feelings, which would open gates to a truer world than our phenomenal one. Schopenhauer's distinction between the (true) world of the will and the (deceptive) world of representation provides the philosophical/metaphysical background for his theory of music. Consequently, words, the text, the story, necessary ingredients of operas, should be designed so as to immerse in the world of tunes which would support the metaphysical mission of operas—evoking true feelings.But there is also a true world, as opposed to the false one, the social one. The true world is ineffable; it is only accessible via true feelings thanks to music. Wagner believes that dramaturgical considerations have to be integrated into the concept of opera itself in order to evoke such true feelings for his audience.Tristan und Isolde is conceived as a work of art that tries to achieve exactly this, with "love" as its main subject and object of his metaphysical and dramaturgical quest. Tristan, in its unfolding story and artistic concept, is supposed to express the true, ineffable world and, at the same time, it even offers physical access to it by using the opera's main topic—love—as a medium of staging metaphysical insights as an existential event. The story of Tristan has to be (re-)read accordingly. Eventually, it is the artist who triumphs over the philosopher when it comes to expressing and realizing ineffable truths that come up whenever one pursues ultimate goals. However, noble goals could result from very personal concerns—as Nietzsche, Wagner's close ally at one point, knew very well. This essay demonstrates that Nietzsche was right.