IN A LIFE of barely salvaged, emotionally overblown scenes, the 44 return to Alexandria is the one that got away, also the most opera-ready. No librettist has touched it, possibly because there is no text. For a woman who was to be celebrated for her masterly manipulation of Rome, Cleopatra’s story would be entrusted primarily to that city’s historians; she effectively ceases to exist without a Roman in the room.
