King and Charcoal Burner (; sometimes translated as "King and Collier"), Op. 14 (B. 21, revised under B. 151), is a Czech comic opera in three acts, divided into 23 scenes, with music by AntonÃÂn Dvoà Âák.
Dvoà Âák composed the music for the first version of the opera in 1871 to a libretto by Bernard J. Lobeský (pseudonym of Bernard Guldener). In 1871, Dvoà Âák offered the finished opera to the Czech Provisional Theatre in Prague. Bedà Âich Smetana, then in charge of the company, returned the work to Dvoà Âák, claiming that it was unperformable.
Dvoà Âák subsequently wrote entirely new music to the same libretto, without using any of the original material. He completed this new version in 1874. The Provisional Theatre, under different artistic leadership after the departure of Smetana, gave the première on 24 November 1874. The opera received a good critical and audience reception, but was withdrawn after four performances. Dvoà Âák made another substantial revision in 1887, with modifications to the libretto by Václav Juda Novotný. This version received its premiere on 15 June 1887, conducted by Moà Âic Anger.
In 1914, Karel Kovaà Âovic produced a heavily reworked and cut edition of Dvoà Âák's 1887 version. This version was staged in 1915 and in 1956. This edition forms the basis of most currently available recordings.
In 1916, the manuscript score of Acts I and III was found in the estate of Josef AupÃÂka. In 1928, other materials for the original performance were found in the archives of the National Theatre, Prague. From these materials, the first version was reconstructed. On 28 May 1929, this first version was first performed, in an abridged form, at the National Theatre, Prague, under the baton of Otakar OstrÃÂil and directed by Ferdinand Pujman, for a run of six performances. The most recent performance of the original 1871 version, and the first known performance in recent times, was a concert performance in September 2019 at the Dvoà Âák Prague International Music Festival.
The theme of the opera is from old legend of the rescue of a Czech ruler (probably prince JaromÃÂr of Bohemia of the Pà Âemyslid dynasty, or his brother Oldà Âich of Bohemia) who gets lost in the woods of Kà Âivoklát. One of the main characters â the charcoal burner MatÃÂj â was taken by Lobeský from the puppet theatre play Feast Day in Hudlice (based on the same theme). Lobeský also replaced the Pà Âemyslid king with the Habsburg Emperor Matthias (and thus shifted the action from the 11th to the 17th century). As MatÃÂj is the familiar form of Matthias in Czech, Dvoà Âák gained two characters with the same names â one poor, one rich. The king mingles incognito among the common folk (a frequently recurring theme in Czech culture of that time), so the plot is based on the merging of the worlds of the aristocracy and the common folk.
Act 1 (original version)<br /> During a hunt, the burgrave Jindà Âich arrives and asks about the king, who has not yet returned. At Henry's instruction, the hunters set out to look for the king.
At the hut where the coal miner MatÃÂj lives with his wife Anna and daughter Liduà ¡ka, the young coal miner JenÃÂk asks to meet Liduà ¡ka. Liduà ¡ka reciprocates JenÃÂk's love, but whilst her parents like JenÃÂk, they consider JenÃÂk too poor to be an acceptable suitor. Other coal miners then escort to MatÃÂjs hut an unknown nobleman lost in the forest. MatÃÂj offers the nobleman a meal, which he gratefully accepts. The nobleman, secretly the king with his identity concealed, introduces himself as MatyÃ¡à ¡, and explains that he lost his way during that day's hunt with the king. At the sound of bagpipes in the distance, the coal miners bring the bagpiper to the table at the nobleman's request. The crowd celebrate in song and dance.
Act 2 (original version)<br /> At dawn, the nobleman is already awake. He sees Liduà ¡ka sneaking into a secret meeting with JenÃÂk. The nobleman surprises her, and admits his platonic affection for her, with a kiss. JenÃÂk arrives, and in a moment of jealousy, he threatens the nobleman. The other coal miners restrain JenÃÂk. The nobleman and Liduà ¡ka explain themselves, but JenÃÂk is not satisfied. The royal hunting party, led by Jindà Âich, arrives, and recognises the king, who forbids them to reveal his identity. The nobleman thanks MatÃÂj and Anna for his hospitality, and invites them to visit him in Prague. As the hunting party prepares to depart, JenÃÂk is still indignant. MatÃÂj and Anna cannot calm JenÃÂk down, and JenÃÂk decides to go to war.
Act 3 (original version)<br /> At the hall of Prague Castle, the court company dances. Only Eva is unhappy. Jindà Âich returns and greets Eva passionately. The king and queen are coming. The king encourages the gathering to enjoy themselves, and mentions a prank: today MatÃÂj, Anna and Liduà ¡ka have traveled to Prague for this ceremony, and the king had them arrested at the gate, and has them brought in, blindfolded, before the throne. Still masquerading as MatyÃ¡à ¡, the king accuses them of harboring a fugitive from the army. Finally, the blindfolds are removed. MatyÃ¡à ¡ invites them to a feast, but MatÃÂj asks for acknowledgement directly from the "host", a request with which the queen will comply. The king asks Liduà ¡ka about JenÃÂk, but he is with the army and did not show up in his native village. Jindà Âich and Eva ask the king for permission to marry, but the king prevents this, because he wishes to treat Eva like a daughter.
The handcuffed JenÃÂk is brought before the king. At first, JenÃÂk was an exemplary soldier and earned a promotion, but recently tried to desert the army. The intention is to punish him by marrying him off against his will. JenÃÂk rebels because he does not want to betray Liduà ¡ka, until he finds out that Liduà ¡ka is the intended bride. Both lovers, and MatÃÂj and Anna, are satisfied. However, MatÃÂj is uncomfortable in the ostentatious environment, but MatyÃ¡à ¡ encourages him to be a guest with him, just as he was a guest with MatÃÂj. During the festivities, MatÃÂj asks additionally for the blessing of the marriage of Jindà Âich and Eva, in addition to the blessing of the marriage between Liduà ¡ka and JenÃÂk. The king is displeased, but the queen soothes him, and the company reminds him of his word. MatÃÂj then threatens to leave, in reaction to the luxury that he sees. After MatyÃ¡à ¡ finally relents, the coal miner's family finally understands that MatyÃ¡à ¡ is the king. They are afraid that they have offended the king, but the king thanks them for the lessons that they have taught him. Everyone praises the king's wisdom.
Act 3 (1887 version)<br /> In the hall at Prague Castle, the courtiers dance a gavotte. JenÃÂk, now a military officer with exemplary war service, is present, but does not take part in the dance, troubled by memories of Liduà ¡ka. Jindà Âich comforts him and reminds him of the king's favour, stating that today, at a ceremony for the King, MatÃÂj and his family are invited to the court. The king joins the company and prepares those present for a prank, where he has the coal miner and his family arrested and charged with treason. The king hides himself and the guards escort in MatÃÂj and Anna. The "court" accuses MatÃÂj and Anna of a conspiracy against a foreigner who barely escaped an armed attack during his stay at the coal mine. MatÃÂj tries to explain, and Anna answers the judges' questions honestly. Liduà ¡ka remains silent, until the court declares JenÃÂk the main culprit and condemns him to death in absentia, after which she speaks in his defence. JenÃÂk realises her love for him, and embraces her. King MatÃÂj then emerges to greet the assembly. MatÃÂj, Liduà ¡ka and Anna admire the beauty of the feast, and the king invites them to dance and then to the table. MatÃÂj still demands compensation from his host for the kiss that MatyÃ¡à ¡ imprinted on Liduà ¡ka. The coal miner's family understands now that their then guest was the king himself. Liduà ¡ka and JenÃÂk sing of their happiness, and the company sings its praise to the benevolent king.
1948: (Radio, unreleased). (King MatyÃ¡à ¡) Boà Âek Rujan, (MatÃÂj) Karel Kalaà ¡, (Anna) Ludmila HanzalÃÂková, (Jindà Âich) Oldà Âich Kováà Â, (Liduà ¡ka) à  tefa Petrová, (JenÃÂk) AntonÃÂn Votava, (1st Knight) Bohuà ¡ Holubáà Â, (2nd Knight) Jan Soumar. Prague Radio Symphony Orchestra and Chorus, c. Frantià ¡ek Dyk
1960: (Radio, Amazon.co.uk download only). (King MatyÃ¡à ¡) Jindà Âich Jindrák, (MatÃÂj) Eduard Haken, (Anna) Ivana Mixová, (Jindà Âich) Milan KarpÃÂà ¡ek, (Liduà ¡ka) Libuà ¡e DomanÃÂnská, (JenÃÂk) Oldà Âich Spisar, (1st Knight) Jià ÂàJoran, (2nd Knight) Rudolf Vonásek. Prague Radio Symphony Orchestra and Chorus, c. Frantià ¡ek Dyk
2005: (Orfeo C 678 062 H). (King MatyÃ¡à ¡) Dalibor Jenis, (MatÃÂj) Peter MikulÃ¡à ¡, (Liduà ¡ka) LÃÂvia ÃÂghová, (Anna) Michelle Breedt, (JenÃÂk) Michal Lehotsky, (Jindà Âich) Markus Schäfer. WDR Sinfonieorchester Köln, WDR Rundfunkchor Köln, Prague Chamber Choir, c. Gerd Albrecht.
1989: (Highlights â released 1996, Supraphon SU 3078-2 611). (King MatyÃ¡à ¡) René TuÃÂek, (MatÃÂj) Dalibor JedliÃÂka, (Anna) DrahomÃÂra Drobková, (Jindà Âich) Viktor KoÃÂÃÂ, (Liduà ¡ka) Jitka Svobodová, (JenÃÂk) Miroslav Kopp, (1st Knight) à  tÃÂpán Burà ¡ÃÂk, (2nd Knight) Jaroslav ProdÃÂlal. Prague National Theatre Orchestra and Chorus, c. Josef Chaloupka. (from 1989 television production)
1951: "Here am I, a lover waiting" (Anna's aria, Act 2). Maria Tauberová. CD release 2015 on Prague Radioservis 2-CD "Czech Romantic Opera" (CR0782-2).
2019: concert performance of original 1871 version at Dvoà Âák Prague International Music Festival, extracts on Radio Prague Web site.