Joseph Wenzig (1807-1876) wrote several plays and opera librettos derived from events in Czech history. Dalibor was the first of two librettos he wrote for Smetana, the second being Libuse. Wenzig wrote both of these in German; they were translated into Czech by Erwin Spindle. Smetana initially felt that a German text would increase the chances of performance outside his homeland. The premiere took place as part of a celebration of the laying of the cornerstone for the new National Theater in Prague.

With Dalibor, Smetana took a path he felt was best for Czech music by incorporating ideas from recent trends in music, as would any progressive composer in any nation. Critics, however, felt that Czech opera should be based on Czech folk songs (much as the later Soviet authorities felt about Russian opera) and perceived Dalibor to be Wagnerian. Bad press affected attendance and the first run saw only five performances. Revivals in 1870 and 1879 fared no better; the opera achieved real success only after the death of the embittered composer, who felt Dalibor to be an excellent work. One problem was that the story prompted unfortunate comparisons with Fidelio.

Wenzig's libretto is based on the legend of the fifteenth century knight, Dalibor, who rebelled against the Burgrave of Ploskovice, who had killed Dalibor's best friend in a humiliating manner during a battle. Dalibor attacked the Burgrave's castle and killed him. During the trial, Milada, the Burgrave's sister, testifies against Dalibor, but is so impressed by the knight's courage she becomes ashamed of her brother's actions. She disguises herself as a male musician and comes to Dalibor in his prison cell in an attempt to release him.

Dalibor opens without an overture and plunges right into Dalibor's trial scene. The brief prelude introduces the most prominent theme of the opera, a rising minor scale with dotted rhythms that refers to Dalibor and was sketched two years before Smetana began the opera. Other themes are linked to King Vladislav and Milada, but only Dalibor's goes through the thematic transformation that betrays Smetana's familiarity with the works of Liszt. Smetana's use of his themes is un-Wagnerian in that they never combine to form a web of music in the orchestra. High points include the duet closing Act Two for Dalibor and Milada and two transformations of Dalibor's theme into the major mode, the first of these when he heroically enters the room at this trial, the second at his death, when he looks forward to joining his dead friend.

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