It would seem upon reflection that the most important thing about Britten's version of The Beggar's Opera is Britten's version of The Beggar's Opera. We therefore propose to dispense with the by now customary Overture-Potpourri on Gray, Pepusch, Hammersmith, Brecht-Weill, Dent and the rest, and to plunge instead straight into the Overture of Britten's realization, after reminding ourselves that, like Lucretia and Herring, this work is scored for chamber orchestra, i.e., solo wind- and string-quintets plus harp and percussion.