The neoclassical façade features that seamlessly integrates the building Pombal in Lisbon.
In their architecture and urban bourgeois, the showroom is designed as a space aristocratic, official representation, strongly hierarchical in their five orders of cabins with a real tribune of rare magnificence, perhaps unparalleled in public theaters since the eighteenth century , was richly decorated by Italian Giovanni Appianni. The ceiling was painted by Manuel da Costa and Cyril Wolkmar Machado.
Elliptically shaped and designed so that the respective focal points, the proscenium and the place of the king, also corresponded to the ideal of perfect acoustics, the room is modeled on the Italian theater, serving primarily the fruition of bel canto.
The most famous Portuguese composer of the time, Marcos Portugal, became music director of the San Carlos in 1800 after returning from Italy, and many of his operas were premiered here.
Between 1828 and 1834, the São Carlos was terminated due to the English Civil War (1828-1834), struggles between kings D. Miguel I and D. Pedro IV.
It truly is a stage model, as is apparent in the description of Gustav von Heeringen regarding the gala evening on the occasion of the wedding of Queen Maria II and Ferdinand of Saxe-Coburg in 1836.
In 1850, the interior lighting was changed to gas lighting, the latest technology available. Electric lighting was installed in 1887.
Although, in essence, to keep your room unique traits that make it a jewel of theatrical architecture of the late Baroque, has undergone several changes over the nineteenth and twentieth centuries: the proscenium was shortened, the orchestra pit, extended and lowered. The 1940 remodeling irretrievably affected the acoustic wells beneath the stage, which were removed and destroyed the maze of corridors and stairwells vaulted and decorated with tiles. Won in reprieve and representativeness of hits, but lost in acoustic quality, given the role of sounding board originating device.