This chapter argues that Brecht’s theories remain relevant for those who produce opera as well as those who study it, in both the Global North and South.Director Yuval Sharon’s stagings of canonical repertoire are instances of minor pedagogy, while the new operas he produces with his Los Angeles-based company The Industry are post-Brechtian. American Naomi André and South African Innocentia Jabulisile Mhlambi study the emergence of black South African opera. Mhlambi interprets Bongani Ndodani-Breen’s Winnie: The Opera (2011) through the lenses of Gestus and estrangement, which, I argue, positions Winnie: The Opera as major pedagogy.