Tchaikovsky as a Wagnerian Fresco Painter?

(I swear that title makes sense in context)

Skipping any potential preamble, here is the piece by Tchaikovsky I am concerned with:

(8:52 for we, the 'time-efficient')

I have been wondering if Tchaikovsky's love theme for Romeo and Juliet would be seen as Nietzsche as Wagnerian. While I think there are a number of ways in which this music resemble themes from Wagner (I think of this Tchaikovsky piece every time I listen to the Tristan und Isolde overture), but there does seem to be something different in Tchaikovsky's method. In The Case of Wagner and Nietzsche Contra Wagner Nietzsche makes remarks about the 'musical polyp' that is the "infinite melody." Is that what we hear here? I perhaps, if you took the 8:52 suggestion, I have led you to the precise moment of its refusal. Are the first 8 minutes this infinite melody? Here is a passage from Nietzsche, and I wonder if it applies here:

“One walks into the sea, gradually loses one’s secure footing, and finally surrenders oneself to the elements without reservation: one must swim.” (666 NCW)