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145:. The first performance took place on the very day of the wedding, but was incomplete (only two acts). It had to correspond to the time of the wedding ceremony, and there were also artistical problems. The first complete performance took place some days later, on 22 February, the anniversary of the
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Although the vocal score of the opera was published shortly after its premiere, the full score remained in the manuscript (this was actually the normal publication practice in Spain by that time). When modern musicians turned to
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having the goal of a new performance, they found out that about a half of the first act was lost. The incomplete version was supposed to be performed on 8 or 9 October 2009, linked to the celebrations of the
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451:. The influence of the latter is also perceptible in the third act duo of María and Roger, in which Italian delicacy is mixed with some vocal writing reminding the
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185:. This led to objections from musicians and the heirs of Chapí. Incapable to find a solution immediately, the Palau canceled the intended performance.
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style. The rich instrumentation of the overture should have been new to the Madrid audience of the period. María's aria of the second act has some
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109:. It is the third of the three operas composed by Chapí during his studies in Paris and Italy. It was staged for the first time at the
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in the first years of the 14th century. It presents Roger's power at the
Byzantine court and his subsequent assassination.
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169:(9 October) and to the centenary of Chapí's death. However, the revival of the opera was disturbed with the
199:, who prepared a critical edition of the score. The opera had a concert performance on 10 March 2012, with
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Meanwhile, the lost portions of the work were reconstructed from the vocal score by musicologist
466:(rec. 2007) Ruperto Chapí: Obra sinfónica — Orquestra de l'Acadèmia del GranTeatre del Liceu,
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561:. Els materials culturals perifèrics en la construcció de l'òpera nacional Espanyola.
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in Madrid on 23 January 1878. The first modern performance was on 10 March 2012 in
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El Palau de la Música pospone la ópera de Chapí tras la polémica por el texto
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Los herederos de Chapí irán a juicio si se altera la letra de "Roger de Flor"
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moments, and the Finale of the same act is laid in the style of
Meyerbeerian
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El Palau recupera la ópera 'Roger de flor' de Chapí en su versión completa
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national issues. The organizer of the project, Valencian
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435:The music of the opera shows a great influence of
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532:. Cambridge Scholars Publishing. p. 840.
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701:International Music Score Library Project
677:Roger de Flor: drama lírico en tres actos
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504:. Editorial Complutense. pp. 81–85.
674:Ruperto Chapí; Mariano Capdepón (1878).
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403:The opera deals with the story of the
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223:Modern premiere cast, 10 March 2012
573:La Ilustración Española y Americana
399:, first performer of the title role
628:El increíble caso de Roger de Flor
125:Background and performance history
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577:1878, No. 8 (February 28), p. 142
529:Operetta: A Sourcebook, Volume II
181:in the text to the Valencians or
44:Cover of the vocal score, c. 1879
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680:. Tipografía-Estereotipa Perojo.
563:La Rella, 23 (2010), p. 155-175.
220:Premiere cast, 11 February 1878
439:, but also with some traits of
115:Palau de la Música de València
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647:"Roger de Flor", sin censuras
16:Opera by Ruperto Chapí (1878)
857:Libretti by Mariano Capdepón
553:Miquel Àngel Múrcia i Cambra
201:Miguel Ángel Gómez Martínez
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557:Marian Capdepón i l'òpera
361:Emperor, father of Michael
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177:, proposed to change the
70:23 January 1878
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852:Operas by Ruperto Chapí
842:Spanish-language operas
498:Luis G. Iberni (1995).
415:. The action is set in
309:Mariano Padilla y Ramos
234:, wife of Roger de Flor
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190:Emilio Casares Rodicio
160:Valencian National Day
147:First Spanish Republic
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862:Operas set in Greece
768:Margarita la tornera
328:Michael Palaiologos
244:Erminia Borghi-Mamo
143:Mercedes of Orléans
119:concert performance
101:) in three acts by
468:Guerassim Voronkov
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314:José Antonio López
175:Palau de la Música
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803:El puñao de rosas
539:978-1-4438-8508-9
511:978-84-89365-03-2
470:— Columna Música
397:Enrico Tamberlick
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296:commander of the
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105:for libretto by
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664:(08.03.2012)
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99:drama lírico
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78:(incomplete)
847:1878 operas
787:Las bravías
760:La serenata
449:grand opera
407:led to the
374:Nicephorus
332:Emperor of
317: [
252: [
217:Voice type
193: [
163: [
139:Alfonso XII
135:Teatro Real
111:Teatro Real
82:Teatro Real
836:Categories
478:References
461:Recordings
425:Adrianople
357:Andronikos
298:turcopoles
74:1878-01-23
50:Librettist
779:Zarzuelas
454:Lohengrin
441:Wagnerian
437:Meyerbeer
421:Gallipoli
183:Aragonese
171:Valencian
822:Category
388:Synopsis
304:baritone
294:Basila,
84:, Madrid
66:Premiere
58:Language
445:Verdian
379:Santos
367:Ugalde
267:Flores
239:soprano
232:Bulgary
228:María,
179:Catalan
129:Before
72: (
61:Spanish
806:(1902)
798:(1897)
790:(1896)
771:(1909)
763:(1881)
755:(1878)
744:Operas
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334:Greece
262:Irene
431:Music
321:]
280:tenor
256:]
214:Role
207:Roles
197:]
167:]
117:in a
28:Opera
534:ISBN
506:ISBN
423:and
340:bass
141:and
411:by
30:by
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76:)
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