Question: Kurt Julian Weillwas a German composer, active from the 1920s in his native country, and in his later years in the United States, with Brecht, he developed productions such as his best-known work, the Threepenny Opera is a "play with music" by Bertolt Brecht and who, adapted from John Gay's 18th-century English ballad opera, "The Beggar's Opera"?

full_context: Document 1: Captain Macheath: Captain Macheath is a fictional character who appears both in John Gay's "The Beggar's Opera" (1728), its sequel "Polly" (1777), and roughly 200 years later in Bertolt Brecht's "The Threepenny Opera".
Document 2: Complex seeing: The English term Complex Seeing is taken from Bertolt Brecht's writing on theatre and opera. First found in Brecht's notes to the "Threepenny Opera", a subsequently edited and updated version was published. This text can be found in English translation as "The Literarization of Theatre" from 1931, in Brecht on Theatre, where the key passage on complex seeing reads:
Document 3: Marc Blitzstein: Marcus Samuel Blitzstein (March 2, 1905January 22, 1964), was an American composer, lyricist, and librettist. He won national attention in 1937 when his pro-union musical "The Cradle Will Rock", directed by Orson Welles, was shut down by the Works Progress Administration. He is known for "The Cradle Will Rock" and for his Off-Broadway translation/adaptation of "The Threepenny Opera" by Bertolt Brecht and Kurt Weill. His works also include the opera "Regina", an adaptation of Lillian Hellman's play "The Little Foxes"; the Broadway musical "Juno", based on Seán O'Casey's play "Juno and the Paycock"; and "No for an Answer". He completed translation/adaptations of Brecht's and Weill's musical play "Rise and Fall of the City of Mahagonny" and of Brecht's play "Mother Courage and Her Children" with music by Paul Dessau. Blitzstein also composed music for films, such as "Surf and Seaweed" (1931) and "The Spanish Earth" (1937), and he contributed two songs to the original 1960 production of Hellman's play "Toys in the Attic".
Document 4: Threepenny Novel: ThreePenny Novel is a 1934 novel by the German dramatist and poet Bertolt Brecht, first published in Amsterdam by in 1934 as "Dreigroschenroman ". It is similar in structure to his more famous "The Threepenny Opera" and features several of the same characters such as Macheath, together with a general anti-capitalist focus and a didactic technique that is often associated with the dramatist. It is a novel that has been the focus of much critical attention and that is often described as both a continuation and a variation of the themes and motifs of Brecht's other work that focuses on alienation and on the communication of a social message. It can be seen alternatively as a careful development of the detective novel genre and as scathing criticism of the Brecht's own social conditions and the economic practices of German businesses and banks in the middle of the 20th century.
Document 5: The Beggar's Opera (film): The Beggar's Opera is a 1953 Technicolor film version of John Gay's 1728 ballad opera directed by Peter Brook and starring Laurence Olivier, Dorothy Tutin, Stanley Holloway and others. Olivier and Holloway do their own singing in this film, but Dorothy Tutin and several others were dubbed. This was Laurence Olivier's only film musical.
Document 6: Mahagonny-Songspiel: Mahagonny-Songspiel, also known as The Little Mahagonny, is a "small-scale 'scenic cantata'" written by the composer Kurt Weill and the dramatist Bertolt Brecht in 1927. Weill was commissioned in the spring to write one of a series of very short operas for performance that summer, and he chose to use the opportunity to create a "stylistic exercise" as preparation for a larger-scale project that they had begun to develop together (the two had met for the first time in March), their experimental 'epic opera' "The Rise and Fall of the City of Mahagonny" (1930).
Document 7: Lost in the Stars: The Music of Kurt Weill: Lost in the Stars: The Music of Kurt Weill is a 1985 tribute album to German-American composer Kurt Weill. It was executive-produced by Hal Willner and John Telfer, and produced by Hal Willner and Paul M. Young.
Document 8: Imminent, Indeed: Imminent, Indeed (or "Polly Peachum's Peculiar Penchant for Plosives") is a gothic adaptation of John Gay’s "The Beggar’s Opera". Written and directed by Bryn Manion with the assistance of Wendy Remington, and leading man, Sam. Produced by the Creatives and the founding board members of the company of Aisling Arts. This adaptation focuses on Polly Peachum's side of the story and her world as it trips alongside that of Jenny Diver, a new Peachum brother, several comically nefarious underlings, and of course, the ever villainous Henry Macheath (known as "Mack the Knife" in the Bertolt Brecht and Kurt Weill adaptation, "The Threepenny Opera").
Document 9: Rise and Fall of the City of Mahagonny: Rise and Fall of the City of Mahagonny (German: Aufstieg und Fall der Stadt Mahagonny ) is a political-satirical opera composed by Kurt Weill to a German libretto by Bertolt Brecht. It was first performed on 9 March 1930 at the Neues Theater in Leipzig.
Document 10: Alabama Song: The "Alabama Song"—also known as "Moon of Alabama", "Moon over Alabama", and "Whisky Bar"—is an English version of a song written by Bertolt Brecht and translated from German by his close collaborator Elisabeth Hauptmann in 1925 and set to music by Kurt Weill for the 1927 play "Little Mahagonny". It was reused for the 1930 opera "Rise and Fall of the City of Mahagonny" and has been notably covered by The Doors and David Bowie.
Document 11: Kurt Weill: Kurt Julian Weill (March 2, 1900April 3, 1950) was a German composer, active from the 1920s in his native country, and in his later years in the United States. He was a leading composer for the stage who was best known for his fruitful collaborations with Bertolt Brecht. With Brecht, he developed productions such as his best-known work "The Threepenny Opera", which included the ballad "Mack the Knife". Weill held the ideal of writing music that served a socially useful purpose. He also wrote several works for the concert hall. He became a United States citizen on August 27, 1943.
Document 12: The Threepenny Opera (1931 film): The Threepenny Opera (German: Die 3 Groschen-Oper ) is a 1931 German musical film directed by G. W. Pabst. It was produced by Seymour Nebenzal's Nero-Film for Tonbild-Syndikat AG (Tobis), Berlin and Warner Bros. Pictures GmbH, Berlin. The film is loosely based on the 1928 musical theatre success "The Threepenny Opera" by Bertolt Brecht and Kurt Weill. As was usual in the early sound film era, Pabst also directed a French language version of the film, "L'Opéra de quat'sous", with some variation of plot details (the French title literally translates as "the four penny opera"). A planned English version was not made. The two existing versions were released by The Criterion Collection on home video.
Document 13: Pirate Jenny: "Pirate Jenny" (German: "Seeräuber-Jenny ") is a well-known song from "The Threepenny Opera" by Kurt Weill, with lyrics by Bertolt Brecht. The English lyrics are by Marc Blitzstein. It is probably the second most famous song in the opera, after "Mack the Knife".
Document 14: The Threepenny Opera: The Threepenny Opera (Die Dreigroschenoper ) is a "play with music" by Bertolt Brecht and Elisabeth Hauptmann, adapted from John Gay's 18th-century English ballad opera, "The Beggar's Opera", with music by Kurt Weill and insertion ballads by François Villon and Rudyard Kipling. Although Hauptmann produced 80 to 90 percent of the text, Brecht suppressed this and assumed sole credit, and is usually listed as sole author in printed versions.
Document 15: The Beggar's Opera: The Beggar's Opera is a ballad opera in three acts written in 1728 by John Gay with music arranged by Johann Christoph Pepusch. It is one of the watershed plays in Augustan drama and is the only example of the once thriving genre of satirical ballad opera to remain popular today. Ballad operas were satiric musical plays that used some of the conventions of opera, but without recitative. The lyrics of the airs in the piece are set to popular broadsheet ballads, opera arias, church hymns and folk tunes of the time.
ground_truth: Elisabeth Hauptmann