Pierre Corneille's play Polyeucte written in 1641–42, the story of which reflected the life of the early Christian martyr Saint Polyeuctus, is the original source for both versions.

[2] Revised to suit the taste of the Paris opera-going public and with the title changed to Les martyrs, the opera was presented on 10 April 1840.

When eventually given in Italy, Les martyrs was initially presented in a translation from the French version under several titles including I martiri.

It took until 30 November 1848, months after the composer's death, in order for Poliuto to finally appear at the San Carlo in its original Italian three-act version,[4] the one which is most frequently performed today.

Donizetti returned to Naples on 24 February,[3] where he began planning for the production of Poliuto but, at the same time, he had also hoped for a permanent supervisory appointment at the Collegio di San Pietro a Maiella there.

Therefore, on 25 May 1838, Donizetti responded to an invitation from the Paris Opéra to compose two new works, specifying that the contract would require a libretto from Scribe with specific performance dates and a rehearsal periods included.

[11] Nourrit greatly influenced the composer in his choice of subject and in the progress of the new opera, such that Donizetti tailored the title role for the tenor[12] who had, by then, been engaged for the autumn season in Naples.

Moreover, Nourrit is also regarded as important in influencing the preparation of Cammarano's libretto as he adapted Corneille's play from what William Ashbrook describes as "a spiritual drama, with its carefully observed unities" into a Romantic melodrama, achieved by adding plot features such as Poliuto's jealousy of his wife's previous relationship with the Roman pro-consul, Severus (Sévère in this opera), which did not exist in the original play.

The San Carlo intendant, Domenico Barbaja, needed the libretto to be first approved by the court censor, Royer, who gave his support.

But when the completed libretto finally moved up the chain of command to the king, a response was forthcoming on 11 August to the effect that "His majesty deigned with his own sacred hand to declare that the histories of the martyrs are venerated in the Church and are not presented on the stage".

But the cancellation dealt a crushing blow to Nourrit's hopes of reviving his flagging career, and even though he appeared in the opera which was substituted, Saverio Mercadante's Il giuramento, as well as productions of Elena da Feltre and Norma which followed, depression overtook him.

[16] The following month, Donizetti wrote to Count Gaetano Melzi exclaiming that he did not want "warlike things [...] I want emotions on the stage and not battles".

[17] With the Poliuto disaster behind him, Donizetti arrived in Paris in late October 1838 and quickly met and became friendly with the composer Adolphe Adam, who was living in the same apartment building where he was staying.

With rehearsals for Les martyrs not planned until early 1840, the composer had time to write yet another opera, La fille du régiment, his first written directly to a French text.

The whole sound world is markedly different from the familiar Donizetti of Lucia di Lammermoor or Maria Stuarda ... Gone is the Italian emphasis on display for its own sake.

Both William Ashbrook and Charles Osborne outline the following major alterations which came about in order to create Les martyrs: Finally, January 1840 became the time for rehearsals to begin.

However, as written in the original Italian, the "more compact, three-act Poliuto was generally preferred"[12] after it was finally given its Naples premiere on 30 November 1848, a few months after Donizetti's death.

[2] 20th century and beyond Les martyrs received its first performance in modern times in a concert version presented at Imperial College, London on 23 January 1975.

The role of Félix was sung by John Tomlinson, that of Pauline by Lois McDonall, Polyeucte by Ian Thompson, Sévère by Terence Sharpe, and Callestènes by Alan Watt.

[32] Presented in partnership with the Orchestra of the Age of Enlightenment under Sir Mark Elder, the performance featured Michael Spyres as Polyeucte, Joyce El-Khoury as Pauline, and David Kempster as Sévère.

Chorus: O toi, notre Père, qui règnes sur terre, comme dans les cieux / "O you, our Father, who reigns on earth as in heaven".

Scene 1: The office of Félix, Governor of Armenia Felix has prepared edicts which condemn the Christians; he proclaims his allegiance to the Roman gods.

Scene 2: The Great Square of Mytilene A jubilant crowd hails the arrival of Sévère: Gloire à vous, Mars et Bellone!

At its conclusion, Félix assumes that the Emperor will have sent decrees with Sévère, but the pro-consul puts him off, concentrating instead on seeking out Pauline while expressing his continued love for her.

However, the High Priest announces that a new convert has been baptised the previous night, and, in an ensemble finale involving all, Sévère encourages the search for the culprit while at the same time laments the loss of Pauline.

Aria: En touchant à ce rivage, tout semblait m'offrir l'image, d'un jour pur et sans nuage / "Touching these shores, everything seemed to offer me the picture of a pure and cloudless day".

Together with the people who leave the sacred grove, all sing a hymn to Jupiter: Dieu du tonnerre, ton front sévère émeut la terre, et fait aux cieux trembler les dieux!

Félix immediately proclaims his allegiance to the emperor and to his gods, and Pauline throws herself at the Proconsul's feet begging him in the name of his love for her to intercede.

He responds: Qu'importe ma vie, sauvée ou ravie / "What good is my life if God doesn't lead you to happiness?".

Equally horrified, Sévère approaches Pauline pleading with her to consider her father's feelings, but the couple is steadfast; the trumpets sound signalling that the execution is about to begin.