Opera game
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- This article uses algebraic notation to describe chess moves.
The Opera Game was a famous chess game played in 1858 between the American chess master Paul Morphy and two strong amateurs, the German noble Duke Karl of Brunswick and the French aristocrat Count Isouard, who consulted, playing together as partners against Morphy.
The game is often used by chess teachers to demonstrate the importance of rapidly developing one's pieces, as well as other lessons.
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[edit] The story
The Duke frequently invited Morphy to the Italian Opera House in Paris, where he had a private box that was so close to the stage, according to Frederick Edge, Morphy's associate, that "you might kiss the prima donna without any trouble."
The Duke was a chess enthusiast as well as an opera lover, and kept a chess set in his private box. Morphy was extremely fond of music and opera, and eager to see Norma, which played on his first visit. Unfortunately, his host had seen Norma countless times, and Morphy found himself forced to play chess, and even seated such that his back was to the stage.
As the game progressed, the two allies conferred loudly enough with each other, debating their moves against the American genius, that it attracted the attention of the opera performers. Madame Penco, who had the role of the Druidic priestess in Norma, kept looking into the Duke's box, to see what all the fuss was about, even as she was performing the opera. Then the performers who were the Druids, marched about, "chanting fire and bloodshed against the Roman host, who, they appeared to think, were in the Duke's box," Edge recounted.
It is doubtful if the distracted opera singers had a good enough view of what was going on. Comically, Morphy created this brilliant game while spending his time trying to overcome his blocked view of the opera, while the performers tried to catch glimpses of what was going on in the Duke's box.
[edit] The game
Black: Duke of Brunswick/Count Isouard
Opening: Philidor Defense, C41
Site/Date: Paris, France, 1858.
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The position after 7. ... Qe7 |
- 1. e4 e5
- 2. Nf3 d6
- 3. d4 Bg4 (?)
- Though censured today, this was standard theory at the time. Now 3...exd4 is usual. 3...f5 is a more aggressive alternative.
- 4. dxe5 Bxf3
- If ... dxe5, then 5. Qxd8+ Kxd8 6. Nxe5 and White wins a pawn and Black has lost the ability to castle.
- 5. Qxf3 dxe5
- 6. Bc4 Nf6
- 7. Qb3 Qe7 (diagram)
- Black's only good move. Almost all of black's moves lead to mate, for example 7. ... Nc6 8. Bxf7 Ke7 9. Qe6#. 7. ... Qd7 loses the rook to 8. Qxb7 followed by 9. Qxa8. Black is forced to move the queen to e7 which blocks the f8 bishop and more importantly impedes kingside castling.
- 8. Nc3
- White prefers fast development to material. He declines to win a pawn with 8. Qxb7 Qb4+ (the only way to avoid loss of the rook) 9. Qxb4, or to win two with 8. Bxf7+ Kd8 (or 8. ... Qxf7 9. Qxb7 and now Black cannot avoid loss of the rook) 9. Qxb7, preferring to mass his forces for a quick checkmate and get back to the opera.
- 8. ... c6
- 9. Bg5 b5 (?)
- 10. Nxb5!
- Morphy chooses not to retreat the bishop, which would allow Black to gain time for development. 9. ... b5 loses but it is difficult to find anything better; for example 9 ... Na6 10.Bxf6 gxf6 11.Bxa6 bxa6 12.Qa4 Qb7 and Black's position is in shambles.
- 10. ... cxb5?
Black could have played 10...Qb4+, which would have forced Morphy to exchange Queens, although White would retain a clearly won game
- 11. Bxb5+ Nbd7
- 12. O-O-O
- The combination of the bishop's pin on the knight and the open file for the rook will lead to Black's defeat.
- 12. ... Rd8 (diagram)
- 13. Rxd7 Rxd7
- 14. Rd1 Qe6
- Compare the activity of the White pieces with the idleness of the Black pieces.
- 15. Bxd7+ Nxd7
- If ... Qxd7, then 16. Qb8+ Ke7 17. Qxe5+ Kd8 18. Bxf6+ gxf6 19. Qxf6+ Kc8 20. Rxd7 Kxd7 21. Qxh8 and White is clearly winning.
- 16. Qb8+!
- Morphy finishes with a stylish queen sacrifice.
- 16. ... Nxb8
- 17. Rd8#
[edit] See also
[edit] References
- The Exploits & Triumphs in Europe of Paul Morphy the Chess Champion by Frederick Milne Edge, with a new introduction by David Lawson. Dover 1973; 203 pages. ISBN 0-486-22882-7 (out of print)