When did she change her name, anyway? When she recognized her talent, or when others did? I finally understand the insistence to an all-caps title--reflections of a reputation large enough to lay claim to a common word with a pretentious diacritic, and a book that can be advertised as a conversation with and about herself. (What does she discuss from her old life? Quick, everybody pay attention to that brief shot of her Wikipedia page.) There's a certain understanding that sometimes, when we say "great," we mean "unavoidable," and that really breaks through the Bach/Tár question: the fact that we have to contend with these people in order to pursue our lives, to be cultural participants, to feel the higher planes of the human experience, often feels like the more heinous crime. The actual victims pale alongside the villainous threat made against the few pleasures we're allotted. Is it easier/harder with classical music, or individual interpretations thereof, given that ideology is more of an abstraction than it is with modern/visual/narrative arts? After the "attack," Petra calls her "the most beautiful person in the world"--a perfect expression of how naïve and ill-equipped we all are to confront the darker ends of the Canon. When you've met a grand total of thirty people in your lifetime, of course Lydia Tár is the most beautiful among them.