The Threepenny Opera ( ) is a "play with music" by Bertolt Brecht, adapted from a translation by Elisabeth Hauptmann of John Gay's 18th-century English ballad opera, The Beggar's Opera, and four ballads by François Villon, with music by Kurt Weill. Although there is debate as to how much, if any, Hauptmann might have contributed to the text, Brecht is usually listed as sole author. The work offers a socialist critique of the capitalist world. It opened on 31 August 1928 at Berlin's Theater am Schiffbauerdamm. Songs from The Threepenny Opera have been widely covered and become standards, most notably "" ("The Ballad of Mack the Knife") and "" ("Pirate Jenny"). Background Origins In the winter of 1927–28, Elizabeth Hauptmann, Brecht's lover at the time, received a copy of Gay's play from friends in England and, fascinated by the female characters and its critique of the condition of the London poor, began translating it into German. Brecht at first took little interest in her translation project, but in April 1928 he attempted to interest the impresario in a play he was writing called Fleischhacker, which he had, in fact, already promised to another producer. Aufricht was seeking a production to launch his new theatre company at the Theater am Schiffbauerdamm in Berlin, but was not impressed by the sound of Fleischhacker. Brecht immediately proposed a translation of The Beggar's Opera instead, claiming that he himself had been translating it. He delivered Hauptmann's translation to Aufricht, who immediately signed a contract for it. Brecht's major addition to Hauptmann's text was the addition of four songs by the French poet François Villon. Rather than translate the French himself, he used (uncredited) the translations by (), the same source he had been using since his earliest plays. The first act of both works begins with the same melody ("Peachum's Morning Chorale"/"An Old Woman Clothed In Gray"), but that is the only material Weill borrowed from the melodies Johann Christoph Pepusch arranged for The Beggar's Opera. The title Die Dreigroschenoper was determined only a week before the opening; it had been previously announced as simply The Beggar's Opera (in English), with the subtitle "Die Luden-Oper" ("The Pimp's Opera"). Writing in 1929, Weill made the political and artistic intents of the work clear:With the Dreigroschenoper we reach a public which either did not know us at all or thought us incapable of captivating listeners [...]