19th century
Following the premiere of Les martyrs on 10 April 1840 in Paris, which was popular with audiences, it was presented over twenty times that season in addition to opening the following season.

However, while Ashbrook notes that it was not particularly successful, at the time there was disagreement between those critics who loved and approved of Italian opera, and those who worried that the quality of French opera was being compromised by the introduction of Italian works and features into the French repertoire.
For example, Hector Berlioz who disliked Italian operas by Donizetti and Vincenzo Bellini, (a composer who was also popular at the time in Paris), found that for him, Les martyrs was merely a "Credo in four acts," although Théophile Gautier is known to have liked the opera, writing that "M. Donizetti has understood in a superior way all the beauties that this situation could contain."
But writer Herbert Weinstock has noted that while twenty performances is no failure, when compared against the popularity of Lucie and L'elisir in France, it did not compare in popularity.

Donizetti himself appears to have been happy with what he saw at the performance on 20 April: "My martiri goes from good to better.
 Today the fourth performance.
 From three o'clock on, neither loges nor tickets [were available]....The performance is of the best."
 he wrote.
The ninth performance was attended by many of the French royal family and, in late May, Donizetti wrote to his friend Tommaso Persico in Italy with the news—quoting the French press as stating—"The success of Les martyrs does not weaken....One must hurry...to see this work as Duprez begins his leave in June".
Donizetti left Paris sometime around 7 June and returned to Rome.

First in translation as Paolina e Poliuto (in 1843) and then as Paolina e Severo (in Rome in December 1849), Les martyrs appeared in Italy, finally becoming I martiri.
It was presented in Barcelona in 1850 as Paulina y Poliuto ó Los mártires.
 However, as written in the original Italian, the "more compact, three-act Poliuto was generally preferred" after it was finally given its Naples premiere on 30 November 1848, a few months after Donizetti's death.

The United States premiere of Les martyrs was presented in New Orleans on 24 March 1848.
London also saw the French work in April 1852.

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.
The Pro Opera Orchestra and Chorus were conducted by Leslie Head.

 The performance was presented on BBC radio and recorded by that organisation.

William Ashbrook mentions a revival of Les martyrs at La Fenice in Venice in 1978, which has been recorded.
It was also presented by the Opéra de Nancy in February 1996 as well as at the Teatro Municipale Valli, Reggio Emilia, in March 1997.

A revival of both the French and Italian is in process: Les martyrs was given in a concert performance at the Royal Festival Hall in London on 4 November 2014 sponsored by the specialised recording company, Opera Rara, which recorded the opera using a new critical edition prepared by Dr. Flora Willson of King's College, Cambridge.
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.
As part of its 2015 season, the Glyndebourne Festival presented Poliuto with tenor Michael Fabiano in the title role.
19th century
Following the premiere of Les martyrs on 10 April 1840 in Paris, which was popular with audiences, it was presented over twenty times that season in addition to opening the following season.
However, while Ashbrook notes that it was not particularly successful, at the time there was disagreement between those critics who loved and approved of Italian opera, and those who worried that the quality of French opera was being compromised by the introduction of Italian works and features into the French repertoire. For example, Hector Berlioz who disliked Italian operas by Donizetti and Vincenzo Bellini, (a composer who was also popular at the time in Paris), found that for him, Les martyrs was merely a "Credo in four acts," although Théophile Gautier is known to have liked the opera, writing that "M. Donizetti has understood in a superior way all the beauties that this situation could contain." But writer Herbert Weinstock has noted that while twenty performances is no failure, when compared against the popularity of Lucie and L'elisir in France, it did not compare in popularity.
Donizetti himself appears to have been happy with what he saw at the performance on 20 April: "My martiri goes from good to better.  Today the fourth performance.  From three o'clock on, neither loges nor tickets [were available]....The performance is of the best."  he wrote. The ninth performance was attended by many of the French royal family and, in late May, Donizetti wrote to his friend Tommaso Persico in Italy with the news—quoting the French press as stating—"The success of Les martyrs does not weaken....One must hurry...to see this work as Duprez begins his leave in June". Donizetti left Paris sometime around 7 June and returned to Rome.
First in translation as Paolina e Poliuto (in 1843) and then as Paolina e Severo (in Rome in December 1849), Les martyrs appeared in Italy, finally becoming I martiri. It was presented in Barcelona in 1850 as Paulina y Poliuto ó Los mártires.  However, as written in the original Italian, the "more compact, three-act Poliuto was generally preferred" after it was finally given its Naples premiere on 30 November 1848, a few months after Donizetti's death.
The United States premiere of Les martyrs was presented in New Orleans on 24 March 1848. London also saw the French work in April 1852.
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. The Pro Opera Orchestra and Chorus were conducted by Leslie Head.
 The performance was presented on BBC radio and recorded by that organisation.
William Ashbrook mentions a revival of Les martyrs at La Fenice in Venice in 1978, which has been recorded. It was also presented by the Opéra de Nancy in February 1996 as well as at the Teatro Municipale Valli, Reggio Emilia, in March 1997.
A revival of both the French and Italian is in process: Les martyrs was given in a concert performance at the Royal Festival Hall in London on 4 November 2014 sponsored by the specialised recording company, Opera Rara, which recorded the opera using a new critical edition prepared by Dr. Flora Willson of King's College, Cambridge. 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. As part of its 2015 season, the Glyndebourne Festival presented Poliuto with tenor Michael Fabiano in the title role.
Les martyrs