19th century
Prior to the original Poliuto being presented in Italy, a translation of Les martyrs appeared there as Paolina e Poliuto and then as Paolina e Severo (in Rome in December 1849), finally becoming I martiri.
However, the "more compact, three-act Poliuto was generally preferred" and under its original title, it was given its premiere on 30 November 1848, a few months after Donizetti's death.

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

Later, it provided a vehicle for dramatic tenors such as Enrico Tamberlik (at Covent Garden in London in 1852) and Francesco Tamagno (in Rome in April 1883) and he also appeared in the second and third acts in a benefit in Rome in April 1904 conducted by Pietro Mascagni.

As Poliuto, it was not until 25 May 1859 that it was given in New York, but revived in Bergamo in April 1850 where it was produced nine times up to November 1907.

20th century and beyond
Productions of Poliuto staged from 1940 onward have included those at La Scala, Milan in 1940 (with Beniamino Gigli and Maria Caniglia).
It was also given at the Roman Baths of Caracalla with Giacomo Lauri-Volpi in 1948, and appeared again in Milan in December 1960 (with Franco Corelli and Maria Callas).
 At that point in her career, Callas was at the height of her fame, albeit having been absent from La Scala for two years.
However, her performances were regarded as triumphs with the public and many critics.
Leyla Gencer sang the second batch of the same production with Franco Corelli.

Another Rome Opera production followed in 1989 with Nicola Martinucci and Elizabeth Connell and two productions were presented by the Donizetti Festival in Bergamo in 1993 and 2010.
Other concert performances were given in the 1990s in cities such as Vienna (1986), Montpelier (1987), and New York (1998).
The ABAO (Asociación Bilbaína de Amigos de la Ópera) company in Bilbao staged the work in February 2008 with Francisco Casanova and Fiorenza Cedolins in the two principal roles.
 It was given in Zurich in May 2012 with Massimiliano Pisapia in the title role and in Lisbon in April 2014 with tenor Sérgio Escobar, soprano Carmen Romeu and baritone Javier Franco, under the baton of Sergio Alapont.

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

In 2016, the small company Amore Opera (the successor-company which inherited sets, props, and costumes from the defunct Amato Opera) performed Poliuto several times at the Sheen Center in New York City.
The company billed this as the first fully staged production given in the USA since 1859, more than one hundred and fifty years before.
19th century
Prior to the original Poliuto being presented in Italy, a translation of Les martyrs appeared there as Paolina e Poliuto and then as Paolina e Severo (in Rome in December 1849), finally becoming I martiri. However, the "more compact, three-act Poliuto was generally preferred" and under its original title, it was given its premiere on 30 November 1848, a few months after Donizetti's death.
Prior to 1860, and performances were given in some sixteen locations throughout Italy and "fairly regularly throughout the second half of the [19th] century" In a German translation, it was given in Vienna on 6 June 1841 under Donizetti's supervision.
Later, it provided a vehicle for dramatic tenors such as Enrico Tamberlik (at Covent Garden in London in 1852) and Francesco Tamagno (in Rome in April 1883) and he also appeared in the second and third acts in a benefit in Rome in April 1904 conducted by Pietro Mascagni.
As Poliuto, it was not until 25 May 1859 that it was given in New York, but revived in Bergamo in April 1850 where it was produced nine times up to November 1907.
20th century and beyond
Productions of Poliuto staged from 1940 onward have included those at La Scala, Milan in 1940 (with Beniamino Gigli and Maria Caniglia). It was also given at the Roman Baths of Caracalla with Giacomo Lauri-Volpi in 1948, and appeared again in Milan in December 1960 (with Franco Corelli and Maria Callas).  At that point in her career, Callas was at the height of her fame, albeit having been absent from La Scala for two years. However, her performances were regarded as triumphs with the public and many critics. Leyla Gencer sang the second batch of the same production with Franco Corelli. 
Another Rome Opera production followed in 1989 with Nicola Martinucci and Elizabeth Connell and two productions were presented by the Donizetti Festival in Bergamo in 1993 and 2010. Other concert performances were given in the 1990s in cities such as Vienna (1986), Montpelier (1987), and New York (1998). The ABAO (Asociación Bilbaína de Amigos de la Ópera) company in Bilbao staged the work in February 2008 with Francisco Casanova and Fiorenza Cedolins in the two principal roles.  It was given in Zurich in May 2012 with Massimiliano Pisapia in the title role and in Lisbon in April 2014 with tenor Sérgio Escobar, soprano Carmen Romeu and baritone Javier Franco, under the baton of Sergio Alapont.
As part of its 2015 season, the Glyndebourne Festival presented Poliuto with the support of the Peter Moores Foundation and it featured tenor Michael Fabiano in the title role with Ana Maria Martinez as Paolina and Enrique Mazzola conducting.
In 2016, the small company Amore Opera (the successor-company which inherited sets, props, and costumes from the defunct Amato Opera) performed Poliuto several times at the Sheen Center in New York City. The company billed this as the first fully staged production given in the USA since 1859, more than one hundred and fifty years before.
Poliuto