The design of the Teatro di San Carlo, is entrusted to the architect Giovanni Antonio Medrano, Colonel of the Royal Army, and Angelo Carasale. The design of a long Hall Medrano 28.6 m and 22.5 meters wide, with 184 stages, including proscenium, arranged into six orders, plus a Royal box can accommodate ten people, for a total of 1379 posts. Eight months after the start of the work, the 4 November 1737, the theater is already completed. The Interior of the structure is on the basis of a retreadable painting by Michael Felix and some reliefs executed by European architects visiting the Hall. The numerous handed down by travellers and visitors agree in celebrating the vastness of the Hall and stage, albeit at the expense of the acoustics and the sumptuousness of the decorations. During the 18th century, the building saw many modernizations solicited by changing requirements of taste or the need to improve the acoustics. Renovations are carried out by Ferdinando Fuga, first in 1767-68 and in 1777-78. The first works with the Tuscan architect renewed the decoration of the Auditorium and inserts in boxes with large mirrors torciere with candles that, by exploiting the effect of reflection, multiply the room's lighting. The next intervention concerns almost exclusively the proscenium. In 1797 the Hall is subjected to a new decorative restoration under the direction of theatre Art Director Dave Castro. The brief period of the Neapolitan Republic of 1799 does not bring any special changes to the structure, except for some damage caused by improper use of the Hall, national theatre and renamed «» equestrian shows desecrated. Domenico Barbaja entrusts to Antonio Niccolini a new restructuring of the maximum. The founder of Neoclassicism in Naples repeatedly intervenes on the building. The first concerns the metamorphosis stage, resulting in the addition of reduced and environments for recreation and refreshment. The carriage porch supported by pillars is inspired by the model offered by Giuseppe Piermarini scale, modified by the insertion of the lodge, however, ionica corresponding to reduced environments. With the Teatro Niccolini acquires the connotations of temple becoming monument-symbol of the city. The façade, in fact, incorporates elements of classical grammar and ellenizzante decoration allusive to dramatic poetry and music. Equally interesting is the reduced: a large tetrastila room, with a vegetal decoration in gold, flanked by smaller environments for game rooms. One year after the conclusion of the work of the stem, the Tuscan architect adjusts to room new decoration of the vestibule and stairwell. Among the innovations made, there are pairs of half-columns to the pillars already huddled by flight into the proscenium, the chandelier suspended in the darkest area of the Hall and the Remaking of the canopy supported by caryatids auction. The reconstruction, completed in nine months, always by Antonio Niccolini, which proposes roughly 1812 room. The Tuscan architect has, in fact, the Horseshoe and the proscenium configuration, although enlarged and adorned in inner surface by the bas-relief depicting the time and Hours, still exists. The existing foyer, made in the eastern part of the garden of the Royal Palace is built in 1937 and designed by Michael Parker. Destroyed by bombing in 1943 was rebuilt immediately after the war. The Teatro di San Carlo, alongside filming of melodramatic repertoire and the revived masterpieces of the 19th century, he also played in recent years intense activity aimed at getting the opera buffa of the 18th-century Neapolitan school.