.
.
This fine free-verse poem is like a spiral staircase rising into the air (rather than up to a visible structure). There are subtle landings (transitions) and turnings as the poem moves toward an unpredictable conclusion. Then, there you are, at the top, having risen into space, having gotten the whole under your feet, recognizing the principle that sustains the poem, yet looking outward also. ---Although a concerto, not an opera, is mentioned, the snake and birds are oblique reminders of 'The Magic Flute.'
.
.
.
.