The first city stone theater opened in St. Petersburg in 1783. The theater became known as the Bolshoi or Stone Theater. The Public Library holds several sheets with variants of the theater's placement on the square, some of which are dated 1775.

The idea of the first stone theater was associated with the names of the painter Tishbein and the engineer Braun. But in one of Dedenev’s reports, who was entrusted with the construction of the theater, Catherine II named the author as A. Rinaldi. Construction of the theater began in 1775. In 1779, in correspondence of Catherine II, there is mention of Rinaldi falling from the scaffolding. The completion of construction in 1781 was entrusted to General Engineer Fyodor Vilimovich Baur. In 1783, the first season of the theater opened with the opera "The Moonlight World" by composer Paisiello.

The Stone Theater building was one of the largest in 18th-century Russia (it accommodated about 2,000 spectators). The theater regularly hosted operas and ballets, as well as dramatic performances (until the opening of the Alexandrinsky Theater in 1832), concerts, morning performances, balls, and masquerades. During mass celebrations, a platform was erected in the hall, which significantly increased the capacity of the Stone Theater.

The composition of the building, constructed in the classical style, was distinguished by its conciseness. The protruding rectangular part of the main facade was rusticated and decorated with eight Doric order pilasters. The first-floor windows were marked with keystones featuring masks. The attic bore the date - 1783. On both sides of the attic stood marble statues - Diana with a doe and Latona, the mother of Apollo. The pediment was adorned with a statue of Minerva made of Carrara marble. In one hand, the goddess held a metal spear that served as a lightning rod, and in the other, a shield with an inscription in Italian - "Vigilant, I rest."

Tickets were distributed in several ways. There was a subscription system for boxes — boxes were owned outright, passed down by inheritance, and decorated by their owners to their taste. The remaining seats were sold on the day of the performance. Sales began at 5 a.m. From 1784, performances were held three times a week.

With the arrival of the famous Italian artist Gonzalo in St. Petersburg in 1792, decorations appeared on the stage of the Bolshoi Theater.

In the 1790s, the position of director of the imperial theaters was held by Prince Yusupov, who began to improve the theater. In 1793–1794, some corrections to the building were made by Zakharov, and in 1796, repair work was overseen by architect Starov.

In 1799, the stone pavement on the square was renewed, and the ramp for carriage access was removed and replaced with stairs.

St. Petersburg residents eagerly attended the city theater. Initially, the Committee on Spectacles organized public announcements of performances through police messengers. Then "printed spectacle leaflets" — posters — were introduced. Until the 1810s, the oral announcement method was preserved — young actors in black tailcoats would come out during intermissions to announce the repertoire to the audience.

In 1799, the stone pavement on the square was renewed, and the ramp for carriage access was removed and replaced with stairs. With the arrival of the famous Italian artist Gonzalo in St. Petersburg in 1792, decorations appeared on the stage of the Bolshoi Theater.

In 1802, it was decided to carry out a reconstruction of the theater. Projects were prepared by Jean Thomas de Thomon and Giacomo Quarenghi. Preference was given to Thomon's project. The architect raised the building, enhanced the importance of the main facade with an eight-column Ionic order portico. The pediment of the building was decorated with a bas-relief depicting Apollo surrounded by the Muses.

In 1810, the building was damaged by fire; in 1811, the theater caught fire again. While inspecting it after the fire, Thomon fell from a wall and died in 1813 from injuries sustained in the fall. After the fire, the theater was restored by architects Dumo and Modoui with the addition of two more tiers. At the request of Alexander I, the architect preserved almost unchanged the walls erected by Thomon and the external appearance of the theater he created.

In 1835, the building’s deficiencies necessitated remodeling. Two reconstruction projects were submitted — by A. Cavos and Zhako. The project of Albert Katarinovich Cavos, son of K. Cavos, was approved. All of Cavos’s efforts were aimed at creating a technically advanced theater. The architect gave the hall a shape more favorable for viewing the stage, increased the number of boxes and seats, expanded the apron stage, added a sixth tier, and removed columns.

In 1878, electric lighting was introduced in the theater. Architect Krakau built an annex for electrical machines at the rear facade.

In 1884, a commission headed by architect Benois declared the condition of the Stone Theater building unsatisfactory in terms of fire safety. In 1886, the last performance ("Carmen") was held in the Stone Theater, after which the theater was closed and transferred to the Russian Musical Society (RMO) in 1889. After numerous reconstructions, the theater building was dismantled in 1891. According to the project of architect Vladimir Vladimirovich Nikolay, the walls of the Bolshoi Theater were largely demolished, and only part of them was preserved and incorporated into the new conservatory building, resulting in no trace remaining of the elegant building with its majestic eight-column Ionic portico.

Sources:

L. G. Grigoriev, Musical Encyclopedia, edited by Yu. V. Keldysh, 1973–1982

M. Z. Taranovskaya, "Architecture of Theaters of Leningrad," L. Stroyizdat, 1988

N. F. Khomutetsky, Petersburg. Leningrad. Historical and Architectural Essay. - L.: Lenizdat, 1958. p. 98

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