591:(Jenny Diver, Suky Tawdry) have contracted with Peachum to capture him, and he becomes a prisoner in Newgate prison. The prison is run by Peachum's associate, the corrupt jailer Lockit. His daughter, Lucy Lockit, has the opportunity to scold Macheath for having agreed to marry her and then broken this promise. She tells him that to see him tortured would give her pleasure. Macheath pacifies her, but Polly arrives and claims him as her husband. Macheath tells Lucy that Polly is crazy. Lucy helps Macheath to escape by stealing her father's keys. Her father learns of Macheath's promise to marry her and worries that if Macheath is recaptured and hanged, his fortune might be subject to Peachum's claims. Lockit and Peachum discover Macheath's hiding place. They decide to split his fortune.
1993:
1976:
672:'s (a never-failing Method of explaining Libels)… Nay the very Title of this Piece and the principal Character, which is that of a Highwayman, sufficiently discover the mischievous Design of it; since by this Character every Body will understand One, who makes it his Business arbitrarily to levy and collect Money on the People for his own Use, and of which he always dreads to give an Account – Is not this squinting with a vengeance, and wounding Persons in Authority through the Sides of a common Malefactor?
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indications of dance music, accompanying instrumental figures or the like, except in three instances: Lucy's "Is Then His Fate Decree'd Sir" – one measure of descending scale marked "Viol." –; Trape's "In the Days of My Youth", in which the "fa la la chorus is written as "viol."; and the final reprieve dance, Macheath's "Thus I Stand Like A Turk", which includes two sections of 16 measures of "dance" marked "viol." (See the 1729 score, formerly published by Dover).
59:
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600:
Macheath now finds that four more pregnant women each claim him as their husband. He declares that he is ready to be hanged. The narrator (the Beggar), notes that although in a properly moral ending
Macheath and the other villains would be hanged, the audience demands a happy ending, and so Macheath is reprieved, and all are invited to a dance of celebration, to celebrate his wedding to Polly.
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185:: "Gay wrote the work more as an anti-opera than an opera, one of its attractions to its 18th-century London public being its lampooning of the Italian opera style and the English public's fascination with it." Instead of the grand music and themes of opera, the work uses familiar tunes and characters that were ordinary people. Some of the songs were by opera composers like
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among the thieves and whores there?" Their friend, Gay, decided that it would be a satire rather than a pastoral opera. For his original production in 1728, Gay intended all the songs to be sung without any accompaniment, adding to the shocking and gritty atmosphere of his conception. However, a week
325:
Gay uses the operatic norm of three acts (as opposed to the standard in spoken drama of the time of five acts), and tightly controls the dialogue and plot so that there are surprises in each of the forty-five fast-paced scenes and 68 short songs. The success of the opera was accompanied by a public
1022:
In 1990 Jonathan Dobin created his period-styled performing edition for the Ten Ten
Players (now Theatre 2020) and it has since been performed at venues throughout the United States. This edition is based on the 1728 printed edition and includes the full overture as detailed by Pepusch and fleshes
679:
Criticism of Gay's opera continued long after its publication. In 1776, John
Hawkins wrote in his History of Music that due to the opera's popularity, "Rapine and violence have been gradually increasing" solely because the rising generation of young men desired to imitate the character Macheath.
590:
Macheath goes to a tavern where he is surrounded by women of dubious virtue who, despite their class, compete in displaying perfect drawing-room manners, although the subject of their conversation is their success in picking pockets and shoplifting. Macheath discovers, too late, that two of them
741:
As was typical practice of the time in London, a commemorative "score" of the entire opera was assembled and published quickly. As was common, this consisted of the fully arranged overture followed by the melodies of the 69 songs, supported by only the simplest bass accompaniments. There are no
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has argued that
Macheath is powerful as a literary figure precisely because he stands against any interpretation, "against expectation and illusion." He is now thought to have been modeled on the gentleman highwayman, Claude Duval, although interest in criminals had recently been raised by Jack
599:
Meanwhile, Polly visits Lucy to try to reach an agreement, but Lucy tries to poison her. Polly narrowly avoids the poisoned drink, and the two girls find out that
Macheath has been recaptured owing to the inebriated Mrs Diana Trapes. They plead with their fathers for Macheath's life. However,
348:
has been considered by critics as both a hero and an anti-hero. Harold Gene Moss, arguing that
Macheath is a noble character, has written, " whose drives are toward love and the vital passions, Macheath becomes an almost Christ-like victim of the decadence surrounding him." Contrarily, John
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314:(1725) plus two French tunes (including the carol "Bergers, écoutez la musique!" for his song "Fill Every Glass"), to serve his hilariously pointed and irreverent texts. Macheath's satire on modern society ("The modes of the court so common are grown") is also sung to Henry Purcell's
2003:
649:"This Week a Dramatick Entertainment has been exhibited at the Theatre in Lincoln's-Inn-Fields, entitled The Beggar's Opera, which has met with a general Applause, insomuch that the Waggs say it has made Rich very Gay, and probably will make Gay very Rich." (3 February 1728)
318:. Pepusch composed an overture and arranged all the tunes shortly before the opening night at Lincoln's Inn Fields on 28 January 1728. However, all that remains of Pepusch's score are the overture (with complete instrumentation) and the melodies of the songs without
703:: Macheath, sentenced to transportation, has escaped and become a pirate, while Mrs Trapes has set up in white-slaving and shanghais Polly to sell her to the wealthy planter Mr Ducat. Polly escapes dressed as a boy, and after many adventures marries the son of a
189:, but only the most popular of these were used. The audience could hum along with the music and identify with the characters. The story satirised politics, poverty and injustice, focusing on the theme of corruption at all levels of society.
667:
It will, I know, be said, by these libertine Stage-Players, that the Satire is general; and that it discovers a
Consciousness of Guilt for any particular Man to apply it to Himself. But they seem to forget that there are such things as
265:
based on Lucy's 3rd act song "I'm Like A Skiff on the Ocean Toss'd") and also to arrange the 69 songs. Although there is no external evidence of who the arranger was, inspection of the original 1729 score, formally published by
193:, the first Polly Peachum, became an overnight success. Her pictures were in great demand, verses were written to her and books published about her. After appearing in several comedies, and then in numerous repetitions of
326:
desire for keepsakes and mementos, ranging from images of Polly on fans and clothing, playing cards and fire-screens, broadsides featuring all the characters, and the rapidly published musical score of the opera.
656:, continues to be acted, at the Theatre in Lincoln's-Inn Fields with general Applause, to the great Mortification of the Performers and Admirers of the Outlandish Opera in the Haymarket." (17 February 1728)
676:
The commentator notes the Beggar's last remark: "That the lower People have their Vices in a Degree as well as the Rich, and are punished for them," implying that rich People are not so punished.
293:, the prison-breaker. It also deals with social inequity on a broad scale, primarily through the comparison of low-class thieves and whores with their aristocratic and bourgeois "betters."
663:, the leading opposition newspaper, ostensibly protesting at Gay's work as libellous and ironically assisting him in satirising the Walpole establishment by taking the government's side:
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and thief-catcher, justifies his actions. Mrs
Peachum, overhearing her husband's blacklisting of unproductive thieves, protests regarding one of them: Bob Booty (the nickname of
1789:
1337:
1811:
322:. Various reconstructions have been attempted, and a 1990 reconstruction of the score by American composer Jonathan Dobin has been used in a number of modern productions.
160:
in Paris in 1671). The work became Gay's greatest success and has been played ever since; it has been called "the most popular play of the eighteenth century". In 1920,
745:
The absence of the original performing parts has allowed producers and arrangers free rein. The tradition of personalised arrangements, dating back at least as far as
1362:
1571:(as "Morgenchoral des Peachum"). The lyrics in the latter version are very different, but the melody and the position of the song in the libretto are retained.
761:, Dobin and other conductors have each imbued the songs with a personal stamp, highlighting different aspects of characterisation. The hornpipe tune to which
822:). In this work, the original plot is followed fairly closely (although the time is brought forward over a hundred years) but the music is almost all new.
680:
Hawkins blamed Gay for tempting these men with "the charms of idleness and criminal pleasure," which
Hawkins saw Macheath as representing and glorifying.
300:
in part allude to well-known popular ballads, and Gay's lyrics sometimes play with their wording in order to amuse and entertain the audience. Gay used
1709:
379:
Mr
Peachum – powerful leader of criminals who betrays or discards his thieves, highwaymen, and prostitutes when they are no longer useful to him
150:
on 29 January 1728 and ran for 62 consecutive performances, the second-longest run in theatre history up to that time (after 146 performances of
1870:
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that men should be allowed their natural liberties; these democratic strains of thought influenced the populist movements of the time, of which
2036:
1431:
273:
The work took satiric aim at the passionate interest of the upper classes in Italian opera, and simultaneously set out to lampoon the notable
2201:
781:
newly arranged the music (and also sang the role of Peachum) for the long-running production (1,463 performances) at the Lyric Theatre,
1583:
870:
created an adaptation with new harmonisations and arrangements of pre-existing tunes. Additional dialogue was written by the producer,
1329:
1804:
140:. The lyrics of the airs in the piece are set to popular broadsheet ballads, opera arias, church hymns and folk tunes of the time.
2014:
1902:
1387:
1205:
1167:
1786:
1771:
1521:
1497:
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was the first singer of Macheath. It was dedicated to James Haldane Lawrie, who would go on to chair the English Opera Group.
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values in response to the growing power of the Whig party. It may also have been influenced by the then-popular ideology of
1691:
A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers and Other Stage Personnel in London, 1660-1800
749:'s later 18th century arrangements, continues today, running the gamut of musical styles from Romantic to Baroque: Austin,
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1738:
198:
132:
and is the only example of the once thriving genre of satirical ballad opera to remain popular today. Ballad operas were
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2029:
1415:
770:
1839:
1546:
1189:
1104:
1081:
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221:) in 1928, sticking closely to the original plot and characters but with a new libretto, and mostly new music by
773:". Following is a list of some of the most highly regarded 20th-century arrangements and settings of the opera.
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2022:
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882:
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sang the role of Captain Macheath in every performance. In 1955 this version was recorded by conductor Sir
24:
1309:
1852:
1703:
1221:
1119:
165:
2196:
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2134:
2101:
1959:
1652:
172:, London, which was one of the longest runs in history for any piece of musical theatre at that time.
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as the Beggar. The "happy" ending was changed so that Macheath is hanged instead of being reprieved.
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has had an influence on all later British stage comedies, especially on nineteenth century British
254:
125:
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147:
100:
2216:
1534:
1042:
578:). The Peachums discover that Polly, their daughter, has secretly married Macheath, the famous
301:
186:
1831:
794:
1580:
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Rakes, Highwaymen, and Pirates. The Making of the Modern Gentleman in the Eighteenth Century
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2054:
1883:
1567:
1089:
818:
250:
217:
20:
1992:
928:
8:
1097:
839:
310:
305:
208:
1975:
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1471:
1425:
1345:
1238:
1058:
181:
1942:
1383:
1159:
1987:
1970:
1767:
1632:
1542:
1517:
1493:
1475:
1411:
1185:
919:; most of his characters as well as some of the arias are from the two earlier plays.
786:
1023:
out all of the remaining 69 airs and dances of the original 18th century production.
395:– captain of gang of robbers; a womanizer who professes to love both Polly and Lucy
2152:
1891:
1760:
Britten, Benjamin; Mitchell, Donald; Reed, Philip; Cooke, Mervyn (1 January 1991).
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1358:
1230:
1115:
1093:
1054:
1027:
886:
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843:. An updated rendition of the story focused on a corrupt world inhabited by rakish
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750:
719:
571:
392:
345:
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The Thief of Hearts: Claude Duval and the Gentleman Highwayman in Fact and Fiction
982:
The opera was adapted for BBC television in 1983. This production was directed by
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1815:
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1371:
1341:
1313:
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991:
983:
976:
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960:
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812:(music) created a popular new musical adaptation of the work in Germany entitled
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64:
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had been running since 1916, receiving 2,238 performances up to 1921. Source:
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987:
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1924:
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1953:
1947:
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His dark song of self-justification is the only song that appears in both
1096:, Coventry, set in a near-future apocalypse world. It features music from
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1108:
999:
875:
856:
782:
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518:
365:
267:
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1981:
1964:
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was met with widely varying reactions. Its popularity was documented in
19:
This article is about the ballad opera. For the Scottish rock band, see
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1673:
1242:
995:
945:
809:
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334:
222:
137:
1219:
Carlson, Marvin (1975). "A Fresh Look at Hogarth's 'Beggar's Opera'".
496:
136:
musical plays that used some of the conventions of opera, but without
58:
1035:
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to have it banned, and it was not performed until fifty years later.
281:, and politicians in general, as well as such notorious criminals as
1665:
1234:
510:
2070:
2009:
1646:
O'Shaughnessy, Toni-Lynn (Winter 1987–1988). "A Single Capacity in
1103:
The original opera was performed in an 18th-century setting at the
903:
In 1977, the Nigerian Nobel Prize-winning playwright and dramatist
730:
718:, with the result that Prime Minister Robert Walpole leaned on the
669:
245:
121:
79:
429:
844:
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133:
1133:
In 2021, French mezzo-soprano and composer Hélène Ducos created
1302:
1073:, and modern popular songs are performed throughout the piece.
852:
1069:. The lives of the convicts partly mirror their characters in
804:
In 1928, on the 200th anniversary of the original production,
1593:
262:
2175:
630:
The Modes of the Court so Common are Grown (Macheath, act 3)
833:(music) created another musical adaptation of the work for
1605:
257:, a composer associated with his theatre, write a formal
1759:
1693:. Southern Illinois University Press. 1975. p. 239.
710:
The political satire, however, was even more pointed in
329:
The play is sometimes seen to be a reactionary call for
1141:. The first performance took place in Paris on 10 July.
1645:
1160:"Bibliomania: Free Online Literature and Study Guides"
1061:. This version is set aboard a convict ship bound for
659:
Two weeks after opening night, an article appeared in
2164:
959:
arranged a new edition for The Australian Opera (now
261:(based on two of the songs in the opera, including a
179:, which had become popular in London. According to
1943:Vocal score used in 1920 Lyric Hammersmith revival
1851:
1019:is a major plot driver and excerpts are performed.
621:How happy could I be with either (Macheath, act 2)
612:Let us take the Road (Chorus of Highwaymen, act 2)
400:Filch – the Peachums' loyal but squeamish servant
241:on 30 August 1716 asking "...what think you, of a
652:"We hear that the British Opera, commonly called
624:In the Days of my Youth (Mrs Diana Trapes, act 3)
164:began a revival run of 1,463 performances at the
2188:
944:, which was later adapted as a film by director
911:(publ. 1981), an adaptation of both John Gay's
609:Can Love be control'd by Advice? (Polly, act 1)
1660:(2). Johns Hopkins University Press: 212–227.
270:, demonstrates that Pepusch was the arranger.
2030:
1886:Dead Dog in a Suitcase (and other love songs)
1128:Dead Dog in a Suitcase (and other love songs)
1065:, where convicts are putting on a version of
1922:
1611:
1599:
615:At the Tree I shall suffer (Macheath, act 2)
1581:"The first production." The Beggar's Opera.
1107:in summer 2011 in a production directed by
603:
253:, the theatre director, insisted on having
207:(working from a translation into German by
2037:
2023:
1991:
1974:
1449:
1430:: CS1 maint: location missing publisher (
57:
1923:Guerinot, J. V.; Jilg, Rodney D. (1976).
1574:
1450:Richardson, John (Fall 2000). "John Gay,
1026:In 1998, the all female Japanese troupe,
932:(1978), an adaptation of both John Gay's
922:In 1978, the Brazilian singer-songwriter
233:The original idea of the opera came from
1727:"Britten Thematic Catalogue – BTC1020 –
729:
627:The Charge is prepar'd (Macheath, act 3)
618:How cruel are the Traitors (Lucy, act 2)
349:Richardson in the peer-reviewed journal
1516:. Arnside, Cumbria: Forty Steps, 2015.
1349:, 10 May 1990, accessed 6 November 2009
1297:
1295:
1293:
1218:
197:, she ran away with her married lover,
2189:
1909:, July 2021, helloasso.com (in French)
1170:from the original on 21 December 2010.
963:). It was recorded the same year with
228:
128:. It is one of the watershed plays in
2018:
1533:
1445:
1443:
1441:
1408:John Gay – Satiriker ohne Zielscheibe
1405:
1005:In 1984 in the play (and later film)
63:Painting based on scene 11, act 3 by
1955:The Beggar's Opera
1873:from the original on 1 January 2017.
1290:
1122:created and toured a reinvention of
1950:, University of Oxford Text Archive
1184:. Penguin Reference Library. 2006.
1077:began touring the UK in early 2009.
199:Charles Powlett, 3rd Duke of Bolton
13:
2202:Operas by Johann Christoph Pepusch
1438:
1120:Liverpool Everyman & Playhouse
896:playwright (and future president)
771:Here We Go Round the Mulberry Bush
769:in the mid-1700s is now used for "
14:
2263:
1936:
1741:from the original on 3 April 2016
1704:1948 Benjamin Britten version of
1278:from the original on 23 June 2016
900:created a non-musical adaptation.
120:in three acts written in 1728 by
2174:
1998:
1492:Baltimore: Johns Hopkins, 2009.
1030:, produced an adaptation titled
940:with new songs and set in 1940s
249:or so before the opening night,
1896:
1877:
1845:
1825:
1798:
1780:
1753:
1719:
1716:at the Guide to Musical Theatre
1697:
1683:
1639:
1617:
1555:
1527:
1502:
1482:
1399:
1137:, a four-act opera inspired by
1084:created a modern production of
1049:co-produced a version entitled
1931:. Hamden, Connecticut: Archon.
1763:Letters from a Life: 1952–1957
1377:
1364:Operetta: A Theatrical History
1352:
1319:
1249:
1212:
1198:
1174:
1152:
1105:Regent's Park Open Air Theatre
725:
1:
1927:(ed.). "The Beggar's Opera".
1907:par Des Voix Sur Les Planches
1145:
907:wrote, produced and directed
693:In 1729, Gay wrote a sequel,
308:'s hugely popular collection
16:1728 ballad opera by John Gay
1454:, and Forms of Resistance".
1047:Out of Joint Theatre Company
646:with the following entries:
457:Beggar (serves as Narrator)
148:Lincoln's Inn Fields Theatre
101:Lincoln's Inn Fields Theatre
7:
2008:public domain audiobook at
1410:. Saarbrücken. p. 66.
1222:Educational Theatre Journal
1015:, an amateur production of
634:
560:
304:mostly taken from the poet
10:
2268:
2207:Operas by Benjamin Britten
1960:Internet Broadway Database
1916:
1653:Eighteenth-Century Studies
1316:, accessed 6 November 2009
1182:Penguin Pocket On This Day
881:The opera was made into a
497:"Trull" meaning prostitute
430:"Nimming" meaning thieving
18:
2232:Operas adapted into films
2144:
2135:What Keeps Mankind Alive?
2112:
2085:
2063:
1983:The Beggar's Opera (1983)
1966:The Beggar's Opera (1952)
1809:– STC & Out of Joint"
1334:, An 18th-Century Satire"
990:in the role of Macheath,
688:
683:
527:"Slammerkin" meaning slut
489:
407:
391:
378:
90:29 January 1728
85:
75:
56:
42:
37:
1612:Guerinot & Jilg 1976
1600:Guerinot & Jilg 1976
1590:Accessed 10 August 2011.
1468:10.1215/00982601-24-3-19
1116:Kneehigh Theatre Company
604:Selected musical numbers
594:
585:
565:
371:
368:and the modern musical.
354:Sheppard's escapes from
255:Johann Christoph Pepusch
211:) adapted the work into
126:Johann Christoph Pepusch
50:Johann Christoph Pepusch
2212:English-language operas
1888:– A new Baggar's Opera"
1679:(subscription required)
1541:. Viking. p. 227.
1456:Eighteenth-Century Life
1008:A Chorus of Disapproval
765:danced between acts in
351:Eighteenth-Century Life
124:with music arranged by
2252:Works about highwaymen
1838:, production details,
1636:1 January 1921: 18–19.
1406:Beyer, Stefan (2012).
1043:Sydney Theatre Company
829:(book and lyrics) and
777:In 1920, the baritone
738:
674:
302:Scottish folk melodies
289:, the highwayman, and
1814:22 March 2016 at the
1390:30 April 2009 at the
1312:31 March 2016 at the
1268:"Long runs in London"
938:The Threepenny Opera,
936:and Bertolt Brecht's
915:and Bertolt Brecht's
785:. The Irish baritone
733:
665:
2237:Operas set in London
2094:The Threepenny Opera
2055:The Threepenny Opera
1792:26 June 2009 at the
1712:4 March 2016 at the
1586:4 March 2016 at the
1568:The Threepenny Opera
1370:29 June 2014 at the
1340:26 July 2016 at the
1118:in association with
1090:Royal Lyceum Theatre
1080:The theatre company
917:The Threepenny Opera
889:as Captain Macheath.
883:film version in 1953
851:and their dissolute
819:The Threepenny Opera
814:Die Dreigroschenoper
413:Crook-Finger'd Jack
384:Lockit – jail keeper
218:The Threepenny Opera
213:Die Dreigroschenoper
175:The piece satirised
23:. For the film, see
21:Beggars Opera (band)
1807:The Convict's Opera
1384:"Baroque Composers"
1098:A Band Called Quinn
1075:The Convict's Opera
1051:The Convict's Opera
1038:'s retirement play.
511:"Doxy" meaning slut
311:The Gentle Shepherd
285:, the thief-taker,
229:Origin and analysis
209:Elisabeth Hauptmann
2076:The Beggar's Opera
2005:The Beggar's Opera
1859:The Beggar's Opera
1853:Michael Billington
1735:brittenproject.org
1729:The Baggar's Opera
1706:The Beggar's Opera
1648:The Beggar's Opera
1563:The Beggar's Opera
1539:The Thieves' Opera
1452:The Beggar's Opera
1346:The New York Times
1332:The Beggar's Opera
1305:The Beggar's Opera
1257:The Beggar's Opera
1139:The Beggar's Opera
1124:The Beggar's Opera
1086:The Beggar's Opera
1071:The Beggars' Opera
1067:The Beggar's Opera
1059:Max Stafford-Clark
1017:The Beggar's Opera
934:The Beggar's Opera
913:The Beggar's Opera
767:The Beggar's Opera
739:
716:The Beggar's Opera
654:The Beggar's Opera
640:The Beggar's Opera
490:Women of the Town
362:The Beggar's Opera
339:The Beggar's Opera
298:The Beggar's Opera
195:The Beggar's Opera
182:The New York Times
162:The Beggar's Opera
144:The Beggar's Opera
113:The Beggar's Opera
67:, c. 1728, in the
38:The Beggar's Opera
26:The Beggar's Opera
2197:Works by John Gay
2162:
2161:
1905:Minuit Montmartre
1834:The Beggars Opera
1773:978-1-84383-382-6
1766:. Boydell Press.
1633:The Musical Times
1602:, pp. 87–88.
1522:978-0-9934183-0-3
1508:Sugden, John and
1498:978-1-4214-1385-3
1359:Traubner, Richard
1303:Jonathan Dobin's
1301:Dobin, Jonathan.
1135:Minuit Montmartre
1045:of Australia and
929:Ópera do Malandro
787:Frederick Ranalow
558:
557:
525:Mrs Slammekin – (
482:Mrs Diana Trapes
447:Matt of the Mint
423:Robin of Bagshot
344:The character of
146:premiered at the
109:
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1820:Australian Stage
1818:by Jack Teiwes,
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1057:and directed by
1055:Stephen Jeffreys
1028:Takarazuka Revue
887:Laurence Olivier
868:Benjamin Britten
840:Beggar's Holiday
797:as Macheath and
737:'s 1920s version
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408:Macheath's Gang
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1164:bibliomania.com
1158:
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1082:Vanishing Point
1063:New South Wales
1034:. The play was
992:Stratford Johns
984:Jonathan Miller
977:Angela Lansbury
965:Joan Sutherland
961:Opera Australia
953:Richard Bonynge
799:Monica Sinclair
791:Malcolm Sargent
779:Frederic Austin
735:Frederic Austin
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686:
637:
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495:Dolly Trull – (
428:Nimming Ned – (
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259:French overture
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1417:978-3639390919
1416:
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1255:Although when
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320:figured basses
279:Robert Walpole
239:Alexander Pope
235:Jonathan Swift
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191:Lavinia Fenton
152:Robert Cambert
130:Augustan drama
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1620:
1614:, p. 89.
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1925:Maynard Mack
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1866:The Guardian
1864:
1858:
1847:
1833:
1827:
1819:
1806:
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1782:
1762:
1755:
1743:. Retrieved
1737:. May 1948.
1734:
1728:
1721:
1705:
1699:
1690:
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1657:
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1641:
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1513:
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1484:
1462:(3): 19–30.
1459:
1455:
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1395:Baroque Arts
1394:
1379:
1363:
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1331:
1321:
1304:
1280:. Retrieved
1271:
1260:
1256:
1251:
1229:(1): 31–39.
1226:
1220:
1214:
1200:
1181:
1176:
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1127:
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1070:
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1041:In 2008 the
1031:
1016:
1006:
994:as Peachum,
986:and starred
973:James Morris
937:
933:
927:
916:
912:
908:
905:Wole Soyinka
898:Václav Havel
838:
817:
813:
808:(words) and
795:John Cameron
766:
763:Nancy Dawson
744:
740:
715:
711:
709:
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660:
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653:
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534:Suky Tawdry
477:Lucy Lockit
467:Mrs Peachum
361:
360:
350:
343:
341:was a part.
338:
328:
324:
316:Lillibullero
309:
306:Allan Ramsay
297:
296:The airs of
295:
287:Claude Duval
272:
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194:
180:
174:
161:
155:
143:
142:
118:ballad opera
112:
111:
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69:Tate Britain
45:ballad opera
32:
25:
2247:Folk operas
2222:1728 operas
1535:Moore, Lucy
1109:Lucy Bailey
1053:written by
1000:Bob Hoskins
876:Peter Pears
857:panhandlers
783:Hammersmith
747:Thomas Arne
726:Adaptations
701:West Indies
570:Peachum, a
554:Constables
519:Jenny Diver
442:Finger Dan
418:Wat Dreary
366:comic opera
331:libertarian
268:Dover Books
170:Hammersmith
2191:Categories
2050:Kurt Weill
1929:Contexts 1
1869:. London.
1857:"Review –
1146:References
996:Gary Tibbs
946:Ruy Guerra
847:, raffish
810:Kurt Weill
580:highwayman
504:Mrs Vixen
487:Mrs Coaxer
452:Ben Budge
335:John Locke
277:statesman
223:Kurt Weill
138:recitative
94:1728-01-29
76:Librettist
43:Satirical
1476:145487729
1426:cite book
1126:, called
1114:In 2019,
1036:Maya Miki
1032:Speakeasy
892:In 1975,
866:In 1948,
837:entitled
825:In 1946,
251:John Rich
2071:John Gay
2010:LibriVox
1948:Libretto
1871:Archived
1812:Archived
1790:Archived
1745:19 March
1739:Archived
1710:Archived
1584:Archived
1537:(1997).
1388:Archived
1368:Archived
1338:Archived
1310:Archived
1276:Archived
1168:Archived
951:In 1981
845:Mobsters
835:Broadway
801:as Lucy.
714:than in
670:Innuendo
635:Reaction
561:Synopsis
393:Macheath
346:Macheath
246:pastoral
122:John Gay
103:, London
86:Premiere
80:John Gay
2145:Related
2048:'s and
1958:at the
1917:Sources
1674:2739105
1626:. "The
1374:, p. 11
1307:website
1282:19 June
1243:3206338
759:Bonynge
755:Sargent
751:Britten
707:chief.
549:Drawer
544:Jailor
462:Player
387:
356:Newgate
243:Newgate
134:satiric
92: (
2227:Operas
2167:Portal
2105:(1989)
2097:(1931)
2064:Source
2058:(1928)
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1973:
1842:, 2009
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853:whores
849:Madams
689:Sequel
684:Legacy
187:Handel
157:Pomone
28:(film)
2181:Opera
2113:Songs
2086:Films
1670:JSTOR
1472:S2CID
1239:JSTOR
894:Czech
793:with
712:Polly
705:Carib
696:Polly
595:Act 3
586:Act 2
572:fence
566:Act 1
372:Roles
263:fugue
116:is a
1988:IMDb
1971:IMDb
1768:ISBN
1747:2016
1565:and
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