Alberto Cavos

[5] Cavos retained the Romanesque facade of the Circus, but completely redesigned the interiors, replacing the old circular arena with a horseshoe-shapes "Italian" opera hall.

[6] Despite the economic downturn that accompanied the disastrous Crimean War, the work rushed through, especially after the death of Tsar Nicholas I – according to Alexander Benois, to reopen the theatre in time for his successor's coronation.

White colour, the bright crimson drapings, overstrewn with golden interior decoration of the boxes, different on each storey, the plaster arabesques and the main effect of the auditorium – its grand chandelier...".

[10] Ivan Rerberg, who restored Bolshoi in 1920–1932, bitterly commented on the architect's decision to close and fill with earth the original groundfloor galleries that housed cloakrooms before the 1853 fire.

[10] Large spans of load-bearing brick walls were laid without mortar; weak foundations underneath, placed in the bend of subterranean Neglinnaya River, were shifting erratically since 19th century.

The architect's last work was a competition entry for the design of the Paris opera; according to Alexander Benois, his drafts were approved by Napoleon III of France[11] but when Cavos died, at Peterhof, the job was awarded to Charles Garnier.

According to Benois, Cavos was overwhelmed by lucrative contracts and quickly made a fortune that allowed him, in addition to Saint Petersburg lifestyle, to keep a luxurious home on the Grand Canal in Venice and amass a vast collection of art there.

However, his extramarital adventures destroyed the marriage; in the end, Alberto Cavos bequeathed his business interests to his new mistress, having nearly ruined his legitimate wife and children.