After its successful Venetian premiere, Il Crociato was staged at the Teatro della Pergola in Florence (7 May 1824), Trieste (winter 1824–1825), Padua (summer 1825), and at His Majesty's Theatre in London (3 June 1825, the first of Meyerbeer's operas to be performed in England, also with Velluti in the cast).

This encouraged Rossini, who was then managing the Théâtre-Italien, to arrange for its performance in Paris (25 September 1825), where the role of Armando was taken by the soprano Giuditta Pasta and Aladino by Nicolas Levasseur.

As remarked by the critic of the London magazine, The Harmonicon, in a review of the 1825 production in Trieste: Of all living composers, Meyerbeer is the one who most happily combines the easy, flowing and expressive melodies of Italy with the severer beauties, the grander accomplishments, of the German school.

[3] This formula of combining the strengths of both operatic schools, as well as of dramatic stage spectacle and flexible and imaginative use of the orchestra, whilst fully displayed in Il crociato in Egitto, was to produce maximum effect with Meyerbeer's series of Grand Operas, commencing with Robert le diable in 1831.

In Adriano's "Suono funereo" there is what may well be one of the earliest cases of that strain of lyrical pathos which was to be such a dominant factor in later bel canto works.