Pierre du Belloy's Le Siege de Calais was the source for several early nineteenth-century works, among them a ballet by Luigi Henry, and a play called L'Assedio di Calais by Luigi Marchionni. These were the sources for the libretto to Donizetti's opera L'Assedio di Calais. Out of the story of the burghers of Calais, Salvatore Cammarano fashioned a libretto notable for its noble drama and passionate advocacy of liberty and freedom. Donizetti considered the score to this opera to be the most carefully wrought of his works, and thought that it would make a better introduction to the opera houses of Paris than even his Lucia. The French subject matter was ideally suited to the French stage, and the themes of liberty timely. It is one of Donizetti's most moving and powerful works; its drama is effective and the music Verdian at times. The orchestral prelude is only a few measures long, and merely lets the audience know that the opera is about to begin. The prayer at the end of Act II, as the hostages are led forth, is perhaps the emotional highlight of the opera. The third act is dramatically the least effective, but it contains a divertissement filled with dancing as an end of evening entertainment.

L'Assedio di Calais was composed immediately after Donizetti had a rousing success with his two comic works, Il Campanello and Betly. It was meant to be part of the evening's festivities at a gala event to honor the Queen of Naples. The evening went well, and the opera was applauded so enthusiastically that Donizetti decided to dedicate the publication of the score to the queen. The initial production of the opera was hampered by the outbreak of cholera, and although well received, during the entire first run L'Assedio played to almost empty houses. After its first run, it was never performed in Italy again, and it only attained fame after a 1989 Opera Rara recording brought it to the attention of modern opera goers.

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