It's interesting how snotty a lot of Berg and 2nd-Viennese pupils and other hangers-on got when it looked as if this opera was going to be taken out of their hands and simply released onto any opera stage as the great, funny, complex, sinister piece it is, after the 3rd act completion and marvellous Boulez/Chereau production. My revelation was a production in the 80s or early 90s by ENO. I thought: How can they do this? They haven't the intellectual apparatus, the money, the vast orchestral resources...? But it turns out any company can do it as long as they're razor-sharp and on their toes and got a good enough band. They can play it like Cosi Fan Tutte. I love this production, it's sharp, funny, disconcerting, Christine Schafer is marvellous, all of them them effortless (imagine saying that in the 70s!). No one is pretending it's the greatest opera of the 20th C, some recreated lost world-shaking masterpiece - it isn't, it's just up there as one of the best, along with all the others. Oh and Stravinsky loved it, described the sound of the saxophone floating out over its vast decadence (he knew the value of a press-release). I sometimes think if Kurt Weill had gone another way he might have written this.