Originally posted by Teinosuke
I suppose the reason I'm arguing is because I know a couple of people who love classical music in its instrumental form, but find opera less appealing because they think that the music never does more than underline the emotions on show. That's why I'm keen to emphasise that operatic music can also counterpoint and qualify those emotions. But I'm sure you're not disputing that in any case!
Absolutely not. The counterbalance between instrumentation/orchestration and emotions is exactly what makes opera compelling, much more so than pure instrumental music. Indeed it takes a special kind of composer to meld the two into a coherent whole. No one did quite like Wagner, although I think of him as more of a special craftsman who subordinated the instrumental half of his operas into a backdrop, but forming a tapestry of interwoven music highlighting not only emotions, but inner complexities, dreads, premonitions, character flaws, character virtues, heroism, valor, treachery, lust, and endless other human traits. Wagner's special gift was not letting one realize the instrumental portion is somewhat subordinate, because it is also parallel. In other words it does not diminish the instrumental parts one bit, simply weaves them into the complex whole. You are right, I don't dispute your point. Your friends you allude to are right and wrong, in other words.