[1] The opera successfully debuted on 12 January 1832 at the Teatro di San Carlo in Naples, and was written with prima donna Giuseppina Ronzi de Begnis in mind; she was rumored to be the king's mistress.

[citation needed] Although the libretto had irked the chief censor, the production went ahead, supposedly because of Ronzi de Begnis' influence in high places.

Only 18 days separate the premiere of Bellini's Norma at La Scala and Donizetti's new opera – both set in ancient Rome and her Empire.

The opera, based on historical events, involves the complications that ensue when Fausta, the wife of Emperor Constantine I falls in love with her stepson.

Historical accuracy leaves something to be desired; in fact Maximian (Massimiano) had died much before the incestuous scandal involving Fausta and Crispus (Crispo) exploded.

When the opera was performed at the Teatro del Fondo on 30 August and 2 September 1832, Donizetti added a duet for Luigi Lablache who had replaced Tamburini in the role of Costantino.

For this occasion Donizetti added an overture, and a cavatina "Par che mi dica ancor" for the soprano Adelaide Tosi.

Nevertheless the lyrics were later recycled by Donizetti for a tenor aria added to the January 1834 production at the Teatro Regio di Torino.

In 1841, for a La Scala production, Donizetti added a duet for tenor and baritone, "E che mi valse...", borrowing from earlier operas Pia de Tolomei and Il diluvio universale.

[3] Other important premieres include Madrid in 1833, Lisbon and Barcelona in 1834; Palermo, Genoa and Bologna also in 1834; Berlin in 1835; Havana in 1837; Vienna in 1841; London in 1841 (described as a "failure"); and Rio de Janeiro in 1850.

[4] Scene 1: The Capitol Square, with the Temple of Jupiter in the background The populace welcomes the return of victorious Crispo, son of Emperor Constantine and his first wife Minervina.

Fausta is devastated by the announcement and tells her husband that the wedding will have to be set for the following day because the goddess Vesta so requires.

After the jubilation, everyone leaves except Massimiano who is conspiring against the Emperor, and although he failed his first attempt to kill both father and son, this time he is sure he will succeed.

Unexpected, Beroe arrives much to the delight of her lover, Fausta shudders, and explains to the Empress that Massimiano needs to see her.

He begins to understand what she means by a secret and is horrified by her revelation; he tries to leave, but she grabs his hand and tells him that if he rejects her, Beroe will perish.

Crispo, in turn, blames Fausta for the curse the father has cast on him; she begins to see the early signs of the great tragedy she has unleashed.

Fausta ingests the poison from the ring and collapses, Massimiano rushes to the cell and hears voices calling for his own death.