The opera company folded, but the show will go on. When Gotham Chamber Opera closed this fall, it looked like one of the casualties would be the New York premiere of “Charlie Parker’s Yardbird,” the ambitious new work it had co-commissioned with Opera Philadelphia and which it had planned to perform at the Apollo Theater, where Charlie Parker himself played.

But thanks to fast work by Opera Philadelphia and the Apollo, which teamed up to save the production, New Yorkers will get to hear “Charlie Parker’s Yardbird” after all, the two organizations announced Wednesday. They said it would be performed April 1 and 3 at the Apollo, featuring the acclaimed tenor Lawrence Brownlee, who originated the title role last spring in Philadelphia; most of the original cast; and its original conductor, Corrado Rovaris, who will lead the Opera Philadelphia Orchestra in the company’s first appearance in New York.

Mikki Shepard, the Apollo’s executive producer, said that the theater had been especially excited to stage an opera about Parker, noting that he had played at the theater numerous times and that he had, fittingly, given his first live “Charlie Parker With Strings” performances there. So when Gotham went under, she said, she immediately got on the phone with Opera Philadelphia to try to salvage the production.

“We called Opera Philadelphia and said, ‘Let’s go!’ ” she recalled. “And they said ‘Yes, let’s go!’ ’’

David B. Devan, the general director and president of Opera Philadelphia, said that he had been about to phone the theater himself. “This piece needed to be at the Apollo,” he said.

The two organizations hammered out a plan to co-produce the New York premiere of the work and began raising money from the Ford Foundation, the Howard Gilman Foundation, Merrill Lynch, the Fan Fox and Leslie R. Samuels Foundation and others. (They still have more to raise.)

The opera, composed by Daniel Schnyder with a libretto by Bridgette A. Wimberly, was described by Anthony Tommasini in The New York Times as a “swift-paced chamber opera with a pulsing, jazz-infused score.” He wrote that Mr. Brownlee, who is one of today’s leading bel canto tenors and who regularly sings at the Metropolitan Opera and other leading houses, “deftly” handled bursts of bebop and scatting and “dispatched runs that suggested jazzy Rossini.”

Mr. Brownlee said that he was excited to bring the opera to Harlem. He said in a statement, “Taking on this role is a challenge that I have greatly enjoyed and I am thrilled to revisit it in New York, where Charlie enjoyed some of his greatest triumphs and endured some of the hardships and trials that ultimately brought his life to a premature end.”