SOURCE: "Revenge Before Love," in The New York Times Book Review, September 10, 1989, p. 37.

In the following review, Segrè suggests that the characters, plot, and setting of Leonardo's Judas constitute prime operatic material.

Attention, opera composers and librettists: [Leonardo's Judas] may provide wonderful material. Consider the premise of this last work by the Czechoslovak novelist, mathematician and classical scholar Leo Perutz.…: Leonardo—the Leonardo, of course—is having trouble completing The Last Supper. He can't find a suitable model for Judas, a contemporary face that will convey the mystery and anguish of the betrayal.

Enter Joachim Behaim, a proud German merchant who has sworn to recover a debt from a usurer named Boccetta. While conniving against Boccetta, Behaim falls hopelessly in love—with Boccetta's daughter Niccola. And in observing Behaim's decision to sacrifice love for vengeance, Leonardo finds the inspiration to complete his masterpiece.

Reminds you of Kafka? Hardly...