Poliuto is a three-act tragedia lirica (or tragic opera) by Gaetano Donizetti from the Italian libretto by Salvadore Cammarano, which was based on Pierre Corneille's play Polyeucte written in 1641–42.

However, close to the time for rehearsals to begin, King Ferdinand II refused to allow the martyrdom of a Christian saint to be seen on stage and forbade the production.

It took until 30 November 1848, months after the composer's death, in order for Poliuto to finally appear for six performances at the San Carlo in its original Italian three-act version.

[7] However, by the late 1830s, Nourrit’s popularity in Paris was in decline, and he was in danger of being supplanted in the public's affections by rising star Gilbert Louis Duprez.

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.

Writing to his wife, he expresses his joy "at being born to a new artistic life" in singing Italian opera under the composer's direction, and he adds that Donizetti is "pulling strings to get me engaged here"[9] It is known that the tenor 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[10] who had then been engaged for the autumn season in Naples.

However, he is also regarded as influencing Cammarano's contribution in adapting Corneille's play from what Ashbrook describes as "a spiritual drama, with its carefully observed unities" into a Romantic melodrama.

[11] However, by the middle of June, a glitch in the proceedings had appeared in the form of a letter from the Superintendent of the Royal Theatres to the San Carlo intendant, Domenico Barbaja, reminding him that submission of a libretto for proposed autumn season opera was overdue.

The Minister for Internal Affairs, who received the king's response, on 11 August communicated to Barbaja 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"[13] The opera's last-minute cancellation by the Catholic King of the Kingdom of the Two Sicilies angered the composer and, resolved to move to Paris to further his career there, he left Naples by October 1838, vowing never to have any further dealings with the San Carlo administration.

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, and then productions of Elena da Feltre and Norma which followed, depression overtook him.

When it finally came time, ten years later, for Poliuto to be staged in Naples, he made a note in his preface to the libretto that: "out of respect for the music, and for the distinguished if unhappy friend who wrote it, I have left the poetry as it was in the original, appealing to the indulgence of the public.

"[15] 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.

Prior to 1860, and performances were given in some sixteen locations throughout Italy[20] and "fairly regularly throughout the second half of the [19th] century"[21] In a German translation, it was given in Vienna on 6 June 1841 under Donizetti's supervision.

[23] It was given in Zurich in May 2012 with Massimiliano Pisapia in the title role[24] and in Lisbon in April 2014 with tenor Sérgio Escobar, soprano Carmen Romeu and baritone Javier Franco, under the baton of Sergio Alapont.

[25] As part of its 2015 season, the Glyndebourne Festival presented Poliuto with the support of the Peter Moores Foundation[26] and it featured tenor Michael Fabiano in the title role with Ana Maria Martinez as Paolina and Enrique Mazzola conducting.

As they go into the cave, Poliuto, the principal magistrate of Melitene, enters and seeing his friend Nearco, the Christian leader, embraces him as he expresses his reservations about being baptised along with the others.

Di quai soave lagrime, aspersa è la mia gota / "My cheeks are moistened, With such gentle tears, How this sweet unknown power, goes straight to my soul!....a dark veil seems to fall from my eyes").

(Cavatina: Di tua beltade imagine è questo sol ch'io miro / "This sun I see is the image of your beauty".)

Again, each man expresses his anguish: for Poliuto it is a "cold hand gripping his heart"; for Callistene it is revenge; and for Felice, the "sun has become enshrouded in a thick cloud."

No, vivi, esulta, o barbara / "No, live and rejoice, cruel woman" he replies and, together, they express their conflicting feelings, with Severo finally leaving and Paolina entering the house.

Entering alone, Poliuto, believes that the couple are guilty and he pledges to revenge this attack on his honour by killing them both: (aria:) Valeno è l'aura ch'io respire!

Quickly, he casts aside thoughts of revenge as he realizes that greater action is required: (Cabaletta:) Sfolgorò divino raggio, Da' miei lumi è tolto il velo / "A ray of divine light blazed down, the veil has fallen from my eyes [......] A holy voice as if from heaven spoke to me of forgiveness."

Initially, Nearco refuses to betray the convert, but when Severo threatens him with torture until he speaks, Poliuto proudly reveals himself to be the man they seek.

All assembled express their feelings in an ensemble: Severo, Callistene, Felice, Priests and the People: La sacrilege parole Nel delubro ancor rimbomba / "The sacrilegious word Still resounds in the temple" and, addressing Poliuto, declare "You are destined to eternal punishment amongst the dead"; Paolina: Qual preghiera al Ciel disciolgo?

"; Poliuto: Dio, proteggi l'umil servo, A morir per te qui vengo/ "God, protect your humble servant, I have come here to die for you, but worldly emotions rise up fiercely to fight again"; and Nearco expresses a longing for death for himself.

In a concerted finale, Paolina entreats her father to save her husband’s life, and then throws herself at Severo’s feet, begging him to show mercy for the sake of the love she knows he still has for her.

(Aria, then repeated by all: Alimento alla fiamma si porga, Tal che incendio vorace ne sorga / "Let the flames be fanned, So that a voracious fire blazes").

But Poliuto is certain that eternal salvation awaits him after death: (Aria: Lasciando la terra, Il giusto non muore / "The just man does not die when leaving the world; He is reborn in heaven to a better life").

In a concerted finale, each expresses his or her feelings: Paolina and Poliuto (Il suon dell'arpe angeliche / "I already hear the sound of angelic harps"); Callistene, some Priests, and the assembled women (Sia maledetto, Chi reca insulta, Dei gran Tonante / "Cursed be he, who dares insult, the holy cult"); Severo (Giove crudel, famelico, Di sangue e di vendetta / "Cruel Jupiter, starving, for blood and vengeance"); and the Priests urging them on to the arena.