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The saga of Nicholas and Alexandra, Russia's last royal couple, is inherently fecund material for the operatic stage. A Shakespearean quality surrounds their doomed fives, which continue to fascinate us despite the passing of years. In real life, the are began with a fine romance between two awkward people saddled with dynastic burdens and ended in the worst possible way, with Nicholas, Alexandra, and their five children murdered in the basement of a Siberian "house of special purpose." And yet it has taken until now, eighty-five years after the Ekaterinburg murders, for a composer to set this story to music, to give voice, literally, to the yearning and the agony of ...