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Bertolt Brecht, the great politicizer of art, thought that opera was too laden with tradition to deliver shocks to the social order. As far as he was concerned, "Rise and Fall of the City of Mahagonny," his 1930 collaboration with Kurt Weill, fell into the category of "culinary opera"--a medium of transient pleasure, even if it managed to leave a delectably bitter taste in the mouths of the middle classes. Weill, though, believed that opera could comprehensively synthesize art, entertainment, and critique, and "Mahagonny," which progresses implacably from the vinegar pop of the "Alabama Song" to the Mahlerian hammer blows of the final scene, crystallized his vision. ...