[Autor:]

Autor: Hans van Tol
Editorial: The Game Master
Duración: 120 minutos
Tema: Renacimiento, música, economía
Mecánica(s): Subastas, especulación en recursos, orden de turno variable, colocación de peones
Número de jugadores: 2-4
Reglas en inglés: http://www.thegamemaster.nl/downloads/OPR_Game rules_ENG.pdf
Sitio oficial: http://www.thegamemaster.nl/en/games-opera.htm

Opera | Board Game | BoardGameGeek

"En 1607 la opera de Monteverdi, La Favola d’Orfeo, tuvo su estreno mundial. En los siguientes siglos, Europa fue conquistada. En Opera los jugadores son aristócratas que tratan de fomentar el gusto refinado en opera.

Opera lleva a los jugadores a través de tres períodos: barroco, clásico y romántico. Con la música épica de Händel, Monteverdi, Mozart, Beethoven, Wagner y Verdi, los jugadores tienes sus grandes salones de opera totalmente copados. Con un gasto inteligente,  y oportuno contrato de personajes, se determina la fama de los compositores y su propio éxito.



En el intrigante juego Opera, planificación y oportunidad juegan un rol importante, junto con la música y el prestigio. ¿Puedes orquestar la opera en tu favor?

Este juego será lanzado durante Spiel en octubre de 2009. Más información se encuentra en  http://www.thegamemaster.nl."
http://www.boardgamegeek.com/boardgame/42743

MECÁNICAS:

*Subastas.
*Orden de turno variable
*Colocación de "trabajadores".

Es un juego de 2-4 jugadores, de 90-150 minutos.  No hay factor suerte.

Video explicativo en alemán: http://cliquenabend.de/index.php?page=news&d=1245776098
Su traducción al inglés: http://www.boardgamegeek.com/thread/427262

Traducido al castellano (hasta donde me dio el tiempo)...

"El juego es sobre fama y poder. El objetivo es obtener la mayor cantidad de puntos de victoria a través de 9 rondas.

Lo que debemos hacer es mezclar esto un poco (las losetas de compositor). Tomo 3 de ellas. Hay 6 compositores en el juego y en cada Episodio (el juego abarca 300 años de opera - el periodo barroco, el clásico y el romántico) hay uno de ellos que es el más famoso.

Lo que es bastante intrigante en este juego es el orden de juego. No se realiza en sentido horario sino que usando la tabla de Presupuesto. Al comienzo de la partida los jugadores subastan hasta $10. Debo explicarlo todo? Ok, cada uno empieza con $20. Y cada uno oculta su dinero detrás de su pantalla, lo que es importante para la subasta. Cada uno empieza con un Edificio en Venecia y una ficha de músico (este es un prototipo, ya que se verá mejor).

El "0" sobre la ficha de músico significa que el compositor de esa ficha no es famoso, pero la ha escrito, lo que le brindara solo dinero, no fama ni puntos de victoria.


Todos tienen eso y lo que debemos decidir ahora es el jugador de partida - Rojo (oh, soy yo). Colocamos las piezas de color de los jugadores en la fila inferior de la tabla de Presupuesto (comenzando con el jugador de partida y en sentido horario, hecho que no es importante por el momento), lo que hacemos solo ahora. Recibo $20, el segundo jugador +1, el tercero +2 y el tercero +3.

Ahora necesitamos subastar por la tabla de presupuesto y decidiremos cuanto dinero usaremos para estos 6 roles, que tienen distintos propósitos. En verdad esta son acciones que un jugador puede realizar. Pero esto no es fácil de explicar el monto a subastar, porque hay dos cuestiones:

- ellos deben ser pagados
- y porque implican poder

El jugador con la puja mas alta en la mea tiene la Iniciativa y comienza. Y los otros pueden entonces co-jugar y de esta forma el juego avanza. Explicaré los 6 roles y jugaremos de inmediato para que tengas una idea de cómo se desarrolla la partida. Como lo desees..."

P: "La forma más fácil de explicar está bien"

"Yes, then you have an idea how it works. Every player starts with a bid in his hand...

Wait, I forgot to add some Music pieces, which you can buy in this Round and it is important that the pieces are more expensive the higher their artist is placed. On the top they are worth 6 and on the bottom they are only worth 1. But the Wagner is now the most famous composer. I will now add 9 Music pieces to their respective composers (randomly chosen from the face-down pool). There can be at most 3 pieces on a composer at any time.

Ok, we have done this and we can bid, at most 10. I suggest to bid at least 5, because otherwise you quite have no chance to do anything in the first Round. Later you already know how it all works so you can decide for yourselves. So we bid now.

When you go for the pure power, you bid 10. When you are a bit more economic and want to be more efficient, then you would probably bid 5 or 6. But there are more things to consider.

(all players secretly bid and hold their closed hands over the table)

So, everyone 7? The Red goes first, 8, the others are all 7, so the Blue goes second, the Green third and the Yellow fourth (this is the order from the beginning of the game as they have all bid equally; Red is on row 8, others on row 7).



And now it is my turn, as I bid the most and am at the highest row. What I can do is to choose the Architect. With him I can build Buildings. Now there are only Buildings available in Venezia, Wien and Berlin, because it is the Baroque period and only these are open for now.

I take the Architecto and he costs me 2 rows on the Budget table. I move 2 down. Now I can build/purchase 2 Buildings, for instance I will buy..."




P: "¿Cuestan lo mismo?"

"They cost 2 per house. So if I wanted to build a wing in Venezia, it costs me 2. And for instance I also build in Wien with 2 halls, which costs me 4. Together I pay 6 money and I get 6 Victory points (each hall costs 2 money and brings you 2 Victory points). Now the other players can use the Architecto, for instance the Blue player.

He can play along and he can say he wants to buy 2 Buildings, 1 Building or he can pass. When he for instance builds 2 Buildings, he will be under the Red player again on the Budget table. If he buils 1 Building, he is still behing the Red player (on the next spot to the right). But when he passes... This is interesting to say that in the beginning players should generally build, but they can also manipulate. When everybody played the Architecto then who is the next starting player, can choose the next role. So for instance the Blue player builds 2.

All the names are in italian."

P: "¿Qué sigifican los números? (en los edificios - 3 sobre los edificios de Venecia )"

"They mean that there can be at most 3 in Venezia. So there are 3 halls in Venezia, that is the maximum. In Berlin there are at most 3, in Wien at most 4."

P: "¿O sea, no no puedes construir el mismo número de edificios."

"No. And later when we are in Classical and in Romantism, there will be new Buildings coming, for instance Paris can have 5 halls and Milan 6 halls. This gets you more money and maybe also more Victory points."

P: "¿Pero un jugador no necesita empezar con un "1", o?"

"On the contrary, the player needs to start with a "1" in a city. Yes, that costs 4 and gets you 4 Victory points. And now Green goes. I will explain yet a bit more why to concentrate? Ok. If you concentrate, you can get more money. Here you have a Income table (on the player screens) and if you have more Buildings in a city and puts more Music pieces on them, he gains more money. So with 2 pieces a player gets 3 money and with only 1 piece he gets only 1 money. So it goes progressively higher. Because of that the bigger Buildings are more interesting.

So concentrating is interesting, but later I will also explain that the spreading is important for the points. So every player should decide what to do."

(a player is buying a Building in Wien)

"Something nice in Wien... 4 and for instance you have bought only one Building, therefore you have more Initiative."

P: "¿tiene sentido no construir al inicio de la partida?"

"Sometimes. This is a counter-strategy. No building is only interesting if you will... It is not so easy to explain just now... You can do it."

P: "Voy totalmente por Venecia, y tomo 2."

"And it costs 4. And you both have 4 points. Ok? The player pieces on the Budget table are flipped face-up and we see who has an action to perform. And what do we see? The Red is first again. Because I have voted more. If it would be more closer, I would not have had a chance to play a second role. I play the roles now only to explain them and now I take the Impressario.

This is a logical step, but you can take any one next. The Impressario costs 3, so I move downwards on the Budget table and I can now buy 2 Music pieces. They cost the amount of Fame of their composers, for instance I can buy a Wagner for 6, but I do not have that much money, so I will have to buy something cheaper - a Haendel and a Beethoven. 3+2 is 5, which I pay and now I can organise this a bit (I can plan it all).

Now the Red player finished and the next one goes."

P: "¿Que otorgan las fichas de músico más costosas? ¿Más dinero? ¿Wagner daría mas dinero?"

"No. The income is written on the player screens on the Income table. A player cannot put two similar Music pieces in an Opera (a Building). So you need them all to get more income and the Fame ratings will get interesting with playing Esperto, or with one of the 3 Scoring rounds later in the game."

P: "¿Permanecen en el edificio de la opera?"

"No, when someone (co-)plays the Impressario, they can organise them and even put some of them behind his screen (to hide them). You can also sell them, but that is something different."

P: "¿O sea, esas fichas de músico son las hasta el final de la partida?"

"Yes, because these are your Buildings and it can be clearly seen. So it is now your turn and you can buy 1, 2 or nothing of course, you can also pass. But right now you need Music pieces, so I would advise to buy some, if you can pay for them."

P: "Then I for a change will buy a more expensive Music piece..."

"Yes, you have more money."

P: "Bastante más dinero."

"It is interesting, I will explain - with the Signora you can sell them back."

P: "¿Cuántas fichas de músico puedo comprar?"

"2. At most 2. No, you need not to buy anything."

P: "Ok, compro  un Wagner y un Beethoven."

"Wagner is indeed a nice music and a Beethoven for 3. And now you go 2 down on the Budget table, because he bought 2 Music pieces. Now it is your turn (player 2, third in Play order) and you can buy something that is yet available.

Yes, when you buy only 1, you move only one space downwards (on the Budget table). Tactical, yes, this is tactical. And how much will you choose? (player 4, fourth) One Monteverdi, yes 7 and 2 steps down.



And now Green player goes and I will explain what we still have here. The system is quite clear now. Signora - with her a player can sell one Music piece to Palazzo and he gets the Fame x2 in money back. So a short description - money. So if you (player 3) sell your Wagner now, you would move 2 down on the Budget table, but you would get 12 money for it. But you do not have the Music piece anymore. So you get 12... Do you want to do it to get the idea?"

P: "Por lo tanto, cuando tomo la Signora, ¿debo pagar 2 por ella?"

"Yes, 2 spaces on the Budget table. And now other players can use the Signora and sell one Music piece (with the Signora only one). Yes, Monteverdi is now worth 5, so interesting. You can sell it to the Palazzo and you get 10 money."

P: "¿Está también prohibido vender dos fichas de músico similares aquí, por lo que no puedo vender la misma a esos dos?"

"Yes, correct. When the Palazzo is full at the end of the Round, it is emptied and when it is not full, but we are at the end of the third Round, it is also emptied.

The Red player has his turn (me) and he can sell something, but it would bring only 5 or 6, so I say I pass. And the Yellow passes also. So we now turn the player pieces on the Budget table and I am first again.

I know what I will do - I will play the Maestro. The Maestro doubles the income in a city. So for instance I have two Buildings in Wien, so I will play Maestro - it costs 2, I move 2 steps down on the Budget table and I place the white pawn on Wien. This means at the end of this round when we get income this will be doubled in Wien - because you do not have so much in Wien, it is interesting.

We do not turn the player pieces on the Budget table, because these three roles are Characters - only one player can send them to a city."

P: "Ahora tengo una elección entre estas dos opciones. ¿Ellas duplican el ingreso o qué otra cosa hacen?"

"No, they do something different. The Critico changes the position of one of the Composers on the Fame track by max. +/-2. For instance when I have many Mozart pieces, I could play the Critico, I place him on a city where Mozart is performed, because otherwise the Critico could not do anything. I take Mozart and move him two ranks up. This is what Critico does.

And the blue one - the Esperto - brings points. When you for instance would have these in Venezia (Music pieces on Buildings) and you would play the Esperto (which costs 4 on the Budget track), now all your Music pieces in a theater in a city will become points. And you check the Fame ratings, here together 13 points, which results in a forward movement on the Budget table."

P: "No lo podría elegir ahora porque no tengo suficientes puntos para pagar por él, ya que tengo solo 3."

"Yes. But in later rounds these will become more and more interesting."

P: "¿Y en una ciudad pueden colocarse solo dos personajes?"

"Yes and these other cities are not yet active, they come later (London, Paris and Milano also), but it is important that the Esperto can bring many points. But to break the power we have the system, where when you play you have to put the Character in a different city. For instance if someone has 6 halls in Milano with many nice Music pieces, he can never put the same Character two times in a row into it (the Role)."

P: "Y los roles se quedan aquí sobre las ciudades para mostrar eso."

"Yes, they stay there until the end of the round. The rounds reach into themselves (? - a weird sentence, am not sure what to make of it...). Because when someone says "I pass" early, he has the Initiative in the next Round. And when you bid the highest in the beginning, you go first. Also it is important that you can do anything, but you have to think hard about it how to make it, because everyhing costs you something and you have to decide if you want to do it or not."

P: "¿Podemos dar un ejemplo del fin de una ronda para que veamos cómo se desarrolla?"

"Yes."

P: "Entonces, juego esta aquí..."

"Yes, the Critico."

P: "Y coloco el compositor naranjo bocarriba. O el rojo,pero soy el único con una ficha de músico naranjo. Tomo naranjo."

"Ok, he goes upwards. Your playing piece goes down 3 rows. Now the Round is ended as 4 is too much and no one can do anything. When someone could yet do something and it would be like this (one pawn is high above the other), he can say that he does not wish to do anything, he can not participate in the other character's actions.

Ok, end of the Round. Now the players get the income. This is calculated from the Income Table. 1 point from Venezia for player 2 (1 Music piece). Player 2 has 2x 1 Music piece, so 2 points. Player 3 has done it right, 3 Music pieces in one Building, so he gets 5 money and I get... Oh, in Wien there is a Maestro, so player 2 gets another 1 money for that Building. And I get 2x3=6 plus 1 equals 7. The money is needed for the next Round of course and we will bid."

P: "¿Por qué 2x3?"

"Wien, this is 2 Music pieces, which gets me 3 money and with the Maestro in Wien this is doubled."

P: "Por ende, ¿subastamos para la ronda siguiente?"

"We have yet to determine which composer is the most famous, whose pieces are played the most. There is 2x Haendel, 2x Beethoven, these go up, and Mozart goes down. Then we proceed to the next Round and what you have behind your shields, you can bid.

Not so much methinks. And there you have to decide what you want to do, because the unused Music Pieces go out and new ones are brought to the board. And you need enough money to buy them. The Characters go back to their positions and the pawns remain in the cities."

P: "¿Y las siguientes dos rondas siguen el mismo camino y en la cuarta algo especial sucede?"

"Yes exactly. In the fourth Round the Scoring takes place (the fourth and eighth Rounds hold the intermediate Scoring and the last Round the final Scoring) and the Music pieces in the red Buildings (this is yet the prototype) are scored. All the Music pieces that are in those Buildings get points related to the Fame of their Composers. For instance I have here (normally I would organize this differently) 1 Beethoven in Venezia for 4 and one Haendel for 3. That means 7 points for me, shown on the Scoring track. In this game in the fourth Round the Wagner is +1 point (so 6), in the eighth Round Monteverdi +2 points (maybe 8, but that oughta change yet) and in the last Round Beethoven is currently +3.

And when the last Scoring Round finished the game is over. The game moves progressively in Point score so it is quite tense."



P: "¿Y cuándo se descubren los nuevos Edificios?"

"When you come to the first Scoring, Paris and London come into play. There the Buildings are larger and you can get more money from them. And in the last phase Milano comes into play. There are not enough Buildings for everyone, which is important. Therefore the Initiative is important in the game. For the Impressario you want to buy the most expensive or the cheapest Music pieces. For the Architecto you need to buy the Buildings that are yet available and with the Signora you cannot sell the same Music pieces.

So everytime you quite want to play all of the roles, they are quite interactive and interesting."

P: "Y en la segunda y tercera fase los espacios en el tablero quedan disponibles para colocar los Personajes. ¿Y estas son todas las reglas del juego?"

"Yes and yes. I think these were quite all the rules of the game, but you need to play it to get a good feel for everything. At Spiel we will have a podium with a red carpet."


Decisión actual: en observación muy de cerca, porque por el tema, la gráfica, la elegancia de las reglas, parece que va para compra segura.

La verdad es que parece que vivimos en la edad de oro de los juegos de mesa, aun cuando parece indicar que todos los temas estan tocados , siempre hay personas que se las apañan para sacarse juegos que llamen la atención y despierten la curiosidad. 
A ver como evoluciona este juego, pero así a primeras de cambio es otro que me llama la atención

Parece que este año la cosa se viene abundante. He parado cualquier nueva compra hasta tener el panorama más claro con todas estas novedades.

Me encanta la Opera....pero sin duda no es decisorio el tema para ver si hay un buen juego detrás.
A priori no me convence mucho el aspecto gráfico: demasiado clásico y con colores excesivamente oscuros ( me gusta mucho más la primera edición del Principes de Florencia que la última ).

Espero tener las reglas para leerlas pero estoy saturado de: ordenes de turnos variables, colocación de trabajadores, y especialmente de subastas en las que necesitas varias partidas para poder deducir o calcular el valor de la cosa subastada con alguna precisión.

No soy operero (puedo escuchar completas solo La Flauta Mágica, La Boheme, Carmen, La Traviata y pare de contar), por lo que el tema me parece "elegante" y atractivo, aunque probablemente no sea muy popular.

Las mecánicas son resabidas. Aún así, creo que le daré una oportunidad, verificada que sea alguna información proveniente de mis GB.

Fe de erratas: en la traducción del artículo original traduje "Piece of music" como "pieza musical". Nada que ver. Busqué ahora por todos lados algún componente relativo a piezas musicales, entendidas como obras musicales, y no la había. En verdad era "ficha de músico".  

Publicadas reglas en Inglés.
Tras una lectura superficial, no entendido todo todavía, me deja una grata impresión.
Los componentes se ven bellos,el tema me gusta...todo se ve muy elegante.
http://www.thegamemaster.nl/en/games-opera.htm

Hombre a mi la pinta me atrae mucho.