In 1777, the companions bought the house of Prince Lobanov-Rostovsky, located on Petrovka Street, in order to erect a new theatre building in its place. The opera house on Znamenka Street, where performances were given earlier, burned down in 1780 Prince Urusov, who suffered significant financial losses, ceded his share in the enterprise to Medox, who, as a result, began to build a theatre that served as a decoration for the city.

The building, designed by architect Christian Rosberg, was completed in just five months. The auditorium with three tiers of boxes, a gallery, a parterre for twenty rows of benches and a spacious ‘parquet’ between the parterre and the stage, where armchairs for ‘special’ visitors were installed, as well as spaces for other audiences to stand, accommodated almost a thousand people. In addition to the necessary office space, the Petrovsky Theatre – it got its name from its location – had numerous foyers and halls.

However, already in 1788, in order to satisfy the demands of the venerable public, another “Rotunda” was added to the building. From the very beginning of the theatre's existence, it was both a cultural and social hotpot: not only were performances given here, but also public lectures, concerts, masquerades and balls.

The opening of the first Moscow public theatre took place on January 10, 1781 The repertoire was formed mainly from Russian and Italian comic operas with ballets and ‘individual’ ballets.

At the first stage of the theatre's existence, the opera and drama troupes formed a single body, and serf artists prevailed. However, the Moscow University and the gymnasiums established under it, which provided a good musical education, played a significant role in the formation of this unified troupe. The "fine arts" classes, founded in 1773 at the Moscow Orphanage, also supplied personnel for the Petrovsky Theatre, mostly ballet. The Moscow Imperial Theatre School later grew out of these classes.

In 1789-1805 the theatre passed from hand to hand, from one owner and manager to another and back. Financially ruined by construction, Medox took out loans on the security of the theatre from the Board of Trustees, which eventually took over the theatre. Medox was paid a salary as vice director, then he again for some time returned to the function of ‘landlord’. Prince Mikhail Volkonsky, the owner of one of the best Moscow private troupes of that time, acted alternately in the same capacity, as well as in the role of director, with him.

In 1805, the building of the Petrovsky Theatre was destroyed by fire. The troupe began a nomadic life, performing on sometimes uncomfortable private stages, which posed a great threat to its further existence. However in 1806, an event occurred that radically changed the state of affairs. The troupe of the former Petrovsky Theatre came under the jurisdiction of the Directorate of the Imperial Theatres, which previously controlled the St Petersburg stage exclusively. This is how the unified Directorate of the Imperial Theatres declared its existence, and the Moscow troupe acquired the status of an imperial one.

In 1808, a new building was erected for it – the only one built in Moscow by the project of the architect Karl Rossi. It was built "like a Greek temple, there were columns around it, in the middle of them a gallery, along which it was possible to walk around the entire theatre." The building, although it stood on a solid stone foundation, was entirely made of wood. When the Napoleonic army occupied Moscow and the great Moscow fire of 1812 began, this building was one of the first to burn down. Meanwhile, two days before these tragic events, on August 30, a performance was played here – the last one, as it turned out.

The Moscow imperial troupe resumed performances in the first throne room two years later, on the day of August 30, 1814, in the mansion of the general from the cavalry and inveterate theatregoer Stepan Apraksin, as well as the former Opera House located on Znamenka. A few years later, in 1818, the troupe was provided with a renovated theatre on Mokhovaya, where it even once performed before the war of 1812.

Total height of the building increased by two meters. Although Bove’s portico with columns remained the same, form of main facade changed significantly. A second pediment was added. Apollo’s chariot with troika was replaced by a quadriga, which was cast from bronze. Alabaster bas-relief with flying geniuses with lyres surfaced on the inner space of the pediment. Frieze and capitals of the columns changed as well. Sloping roofs on iron pillars were set in at side facades from entrances.

Certainly, architect drew main attention to the auditorium and stage space. In the second half of 19 th century, the Bolshoi Theatre was considered as one of the world’s best in terms of acoustics. Thanks to Alberto Cavos’ skills who designed auditorium as a huge music instrument. Wooden panels of resonant pinewood were used for the walls decorations. Instead of iron, ceiling was made out of wood; a picturesque plafond was constructed out of wooden shields – everything there served the acoustics. Even boxes décor was made of papier-mâché. To enhance acoustics, Cavos covered space under amphitheater where cloakroom before was located, hangers were moved to the stalls level.

Auditorium space was considerably broadened which made it possible to create avant-loge – small guest rooms to accept visitors from neighboring boxes. One tier was added to auditorium so it became six-tiered and accommodated almost 2300 guests. Littered boxes located on the both sides to the stage and were reserved for Tsar’s family, ministers of the court and theatre administration. Tsar’s front box, protuberant to the auditorium opposite stage, became its central place. Consoles in form of crouched Atlantes supported boxes’ wall. Everyone was stroke by a crimson-gold magnificence upon entering auditorium – within first years of the Bolshoi Theatre’s existence and decades later.

Originally, chandelier in the auditorium was lit by three hundred oil lamps. In order to light them, the chandelier had to be lifted through the vent in plafond and put into a special premise. Circular composition of plafond was built around the vent with a painting of the Apollo and Muses by academic Alexei Titov. It was a mural “with a secret” which could be revealed to an attentive eye, additionally an expert in Greek mythology: instead of one of canonical muses – Polyhymnia, muse of the sacred hymns, Titov depicted imaginary muse of art with pallet and brush in her hands.

Unusually rapid speed of reconstruction was explained by the fact that it had to be finished by coronation celebration of Emperor Alexander II. The Bolshoi Theatre, practically built anew, opened its doors on 20 August 1856 with opera Puritani by V. Bellini. Solemnity of the moment – splendor of auditorium filled with high society greeted by the members of emperor family – was captured by the future court painter of Romanov family, Mihály Zichy. A number of his wash drawings, including The Performance in Moscow's Bolshoi Theatre on the Occasion of the Coronation of Alexander II, was commissioned for coronation album which became one of the most impressive editions in Russia in terms of weight (thirty kg) and size (94 to 70 cm).

Choice of performance at the theatre opening reflected taste of the court aristocrats: Italian and French operas, performed by artists from Italian company, held leading position at the Bolshoi Theatre in 1860- 70s. Stars of the world opera regularly performed there and their work turned to be a sort of belcanto for artists of Moscow stage.

One of the most important events in the history of ballet of the Bolshoi Theatre in the second half of 19 th сentury became production of Don Quixote, premiered on 14 (26 new style) December 1869 Shortly before this, Marius Petipa staged his first and the only full-length ballet specially for the Bolshoi Theatre. Although Don Quixote gained well-deserved fame as one of the most classic ‘Moscow’ ballet first of all thanks to Alexander Gorsky, who gave a proper structure to choreographic narrative and dynamism to a dance which differentiated ensemble scenes (and many of his followers who continued to stage their own versions of the performance), Petipa himself, payed respect to the tradition of the Bolshoi Theatre. He emphasized character dance, mainly in Spanish, he was an expert of this language after few years spending in Spain. (Two years later, he staged the ballet in Saint Petersburg and added fifth “wedding” act in classic form and style).

Swan Lake by Pyotr Ilyich Tchaikovsky’s world premiere took place at the Bolshoi Theatre on 20 February (4 March new style) 1877 Petipa and Lev Ivanov at Mariinsky Theatre staged canonical performance, well known around the world, almost twenty years later, when Tchaikovsky himself was not alive already. However, music was commissioned for the Bolshoi Theatre and was first played there. First production of the ballet did not prove to be successful, yet withstood considerable for that time number of performances. It paved the way, though, to a long array of theatric externalizations on Moscow stage: innovative, independent or based on achievements of Petipa-Ivanov.

Tchaikovsky debuted at the Bolshoi Theatre not only as an author of the ballet, but also opera. 18 (30) January 1869 opera Voyevoda premiered, first opera that he wrote. Dissatisfied with his work, composer later destroyed a major part of the score. Nevertheless, it did not avert him from wanting to persevere in this genre.

Blossom of Russian opera at the Bolshoi began from production of Demon by Anton Grigoryevich Rubinstein (1879) and Eugene Onegin by Pyotr Ilyich Tchaikovsky (1881). One of the most repertory and beloved to Moscow audience opera became Eugene Onegin. Tchaikovsky, who placed chamber, intimate character of his composition at the heart, reflected in the genre by definition, which he named “lyrical scenes”, was concerned about “scope” and “fund allocation” of the big emperor theatres. He thought: “How will a beautiful image created by Pushkin be trivialized when it is moved to the stage full of routines and goofy traditions”. Eugene Onegin was first performed by students of Moscow Conservatory. It was premiered on the stage of Maly Theatre on March 1879 Two years later, 11 (23) January 1881, it was presented at the Bolshoi for the first time.

3 (15) February 1884 Mazeppa premiered at the Bolshoi Theatre. 19 (32) January 1887 the first performance of Cherevichki took place where composer debuted as a conductor with a great success. Later, he also conducted Eugene Onegin at the Bolshoi.

Very rapidly did the Bolshoi master peak achievements of Russian opera art: its repertoire included M.P. Mussorgsky, A.P Borodin, and N.A. Rimsky-Korsakov. At the same time, further exploration of western opera classic presented by repertoire as well as quite rare names continued.

The successes he achieved in this position for three years (1898-1901) earned him the post of director of (all) the Imperial Theaters, without preventing him from continuing to pay close attention to the Moscow theatres that remained under his direct leadership. The ‘Telyakovsky era’ in the Russian Imperial Theatre lasted until the end of its existence. Sincere enthusiasm for his work, disinterestedness, artistic intuition and delicate taste allowed Telyakovsky to bring the Bolshoi to the forefront while heading it: the theatre reached a world level and significance under him. Telyakovsky continued strengthening the director's and scenographic components of the performance, while paying great attention to the musical side of the matter. A new era began in the societal life, and therefore in art. Romanticism and melodrama as a way of being on the operatic stage were becoming a thing of the past. Musical theatre acquired new features. Telyakovsky searched for and found people capable of sharing and implementing his innovative ideas. It was he who contributed to the fact that Feodor Chaliapin and Sergei Rachmaninov moved from the Mamontov enterprise to the Bolshoi.

In 1904–06, the musical direction of the Bolshoi Theatre opera was carried out by Sergei Rachmaninov, who raised the musical component of the performances to an unprecedented level. Rachmaninov was entrusted with the preparation of the premiere of the opera A Life for the Tsar by M. Glinka "in the original musical version." But his debut took place earlier, in a performance from the current repertoire: for the first time at the Bolshoi, he conducted the opera Mermaid by A. Dargomyzhsky. Both the debut and the premiere of A Life for the Tsar were a huge success. Rachmaninov gained a reputation as an outstanding opera conductor. The triumph of A Life for the Tsar was also promoted by the actors involved in the performance: Feodor Chaliapin, Antonina Nezhdanova, Evgenia Zbrueva. Later, the repertoire of Rachmaninov at the Bolshoi Theatre included The Queen of Spades and Eugene Onegin by P. Tchaikovsky, Prince Igor by A. Borodin. And all three of Rachmaninov's operas first saw the spotlight at the Bolshoi Theatre: the first, Aleko, – a conservatory thesis – in 1893, the other two, The Covetous Knight and Francesca da Rimini, – during his service at the Bolshoi, in 1906, which was conducted by the composer himself.

One of the indisputable achievements of Telyakovsky was the invitation for the cooperation of wonderful young artists, especially Konstantin Korovin and Alexander Golovin. Stage design was equalized in rights with the rest of the components of the performance for the first time. Scenography, costumes, props were brought to life by the creative imagination of the artist (and a group of like-minded people), and acquired integrity and unity of style began to work fully to help the implementation of the general concept of the production. For the first time, Bolshoi stepped so far that it began to involve consulting historians in performance work. Thus, the preparation of the premiere of the opera A Life for the Tsar in 1904 included an expedition to the Kostroma province to collect ethnographic material. It was headed by a prominent archaeologist (part-time art critic) V. Sizov.

Telyakovsky's innovations, of course, met resistance from the theatrical routiners. But he also had powerful support – in the person of Feodor Ivanovich Chaliapin, who demonstrated not only vocal and artistic skills, but also contributed to the reform of opera direction, knew a lot about theatrical costume and worked on makeup himself. Moreover, the extremely successful premiere of the opera The Woman of Pskov (1901) was the fruit of the joint efforts of Chaliapin and the director (and singer) Romuald Vasilevsky. The outstanding achievements of Chaliapin and other remarkable artists of the Bolshoi were marked with honorary titles introduced in 1896. In 1908–09, the Bolshoi Choir (chief choirmaster Ulrich Avranek), several opera soloists, including Chaliapin, opened a new chapter in the history of the theatre, performing triumphantly abroad as part of Sergei Diaghilev's Russian Seasons in Paris. Chaliapin was forever entrenched in the minds of foreign listeners as an unsurpassed performer of the title role in Mussorgsky's opera Boris Godunov, which contributed a lot to the success that the opera won in the West.

In ballet, the first decades of the 20th century passed under the care of Alexander Alekseyevich Gorsky. Having started his career at the Bolshoi Theatre with the transfer of Petipa's performances, in 1900 Gorsky staged his own version of the ballet Don Quixote on the Moscow stage, and in 1902 he became the head of the Bolshoi ballet troupe. He retained the choreographer's post until his death in 1924 A native of St Petersburg, Gorsky contributed in every way to the strengthening and flourishing of the Moscow style of classical ballet. He, like his leading colleagues in the opera shop, attached great importance to the decoration of performances and worked in collaboration with painters – the same Alexander Golovin and, to an even greater extent, Konstantin Korovin. Gorsky followed all modern trends in art and in ballet – he rejected the old ballet conventions, trying to achieve lifelike verisimilitude and organic quality to what was happening on the stage. That is why in his performances a continuous line of action is always traced, pantomime is distinguished by liveliness and meaningfulness, and ensemble scenes – by a detailed study of individual characters and a variety of acting.

Among the most famous productions of Gorsky are The Daughter of Gudula and Salammbo by A. Arends – ballets inspired by the novels of V. Hugo (the first is based on the plot of Notre Dame Cathedral). Gorsky's ideas were brought to life by the talented artists of the Moscow troupe – Sofia Fedorova, Vera Karalli, Alexandra Balashova, Mikhail Mordkin. At times he managed to find a common language with the prima ballerina Ekaterina Geltser and the principal Vasily Tikhomirov, who in both remained generally faithful to the old ballet canon which they were brought up on. One of Geltser's best roles was the title role in the ballet Salammbo, which allowed the artist to sparkle not only with her dancing skills, but also with her artistic talent. The ballets Love is Fast! to the music of E. Grieg and Schubertiana were a great success of their collaboration.

The last performance of the Imperial Bolshoi Theatre was the performance of the opera Eugene Onegin. It took place on February 28, 1917 Two weeks later, on March 13, 1917, the performance was given by the State Bolshoi Theatre. It was a "free solemn performance" in which the key role was assigned to the allegorical living picture of a “Liberated Russia”. On the same evening, at the Bolshoi the Internationale was heard for the first time. Soon the Bolshoi Theatre received administrative autonomy. The artistic director elected was the public's favorite, the famous tenor (and a lawyer by education) Leonid Sobinov, who believed that "the Bolshoi Theatre opens the first page of its new free life." The general feverish excitement in the artistic environment reached its highest intensity. There were endless rallies and meetings, the boldest hopes were pinned on the new regime, the uncertainty and impending devastation frightened and made people think about the future, including the ‘liberated’ Bolshoi Theatre.

In 2001, Alexander Vedernikov was appointed to this post. The practice of showing rental performances was introduced. Among other productions, the audience of the Bolshoi saw two famous performances of the Teatro alla Scala in Milan: Adrienne Lecouvreur by F. Chilea (2002), directed by Lamberto Pugelli and Falstaff by G. Verdi, directed by Giorgio Strehler (2005). The Bolshoi's involvement in the world theatrical process was facilitated by its participation in co-productions, which also became more and more common over the years. Among the most successful of them with the public and critics were R.Wagner's The Flying Dutchman directed by Peter Konwichny (2004, co-production with the Bavarian State Opera), and Madama Butterfly by G. Puccini, staged by R. Wilson (2005, co-production with the Opera national de Paris). The conductor of both performances was maestro Vedernikov. This is how the largest opera directors of our days came to the Bolshoi. Very quickly, Dmitri Tcherniakov acquired the same status, staging his stage version of Eugene Onegin at the Bolshoi in 2006 (conducted by maestro Vedernikov). The performance has become one of the brightest in the recent history of the Bolshoi and was performed with great success in many countries. Dmitri Therniakov's staging of Ruslan and Lyudmila was the first performance to be seen on the Historical Stage in 2011 after its reconstruction. And in 2020, cooperation with Mr. Tcherniakov continued with the production of the opera Sadko (conducted by Timur Zangiev).

In 2014, Tugan Sokhiev was appointed to the post of chief conductor and musical director of the Bolshoi, in many ways sharing the previously introduced repertoire and personnel policy. In the performances of the theatre, guest stars are constantly busy, including those of the highest rank – Anna Netrebko, Maria Guleghina, Olga Peretyatko, Khibla Gerzmava, Ildar Abdrazakov. Wonderful productions of Handel's Baroque operas Alcina and Rodelinda, as well as Britten's Billy Bud, have been run at the Bolshoi for several seasons thanks to his collaboration with the English National Opera. The experience of co-production with this theatre was also recognized as extremely fruitful.

Among the titles that appeared in the repertoire were The Adventures of a Rake by I. Stravinsky (2003, first production at the Bolshoi Theatre, conductor Alexander Titov), Turandot by G. Puccini (2002, conductor Alexander Vedernikov) and Fiery Angel by S. Prokofiev (2004, first production at the Bolshoi Theatre; conductor Alexander Vedernikov). A new production of the opera Boris Godunov was carried out by the famous film director Alexander Sokurov. On the initiative of Tugan Sokhiev, the dramatic legend La Damnation de Faust by G. Berlioz (2016) and the opera Salome by R. Strauss (2021) were staged. The directors of the drama theatre began to actively come to the Bolshoi – Alexander Borodin, Robert Sturua,Temur Chkheidze, Rimas Tuminas, Evgeny Arie, Evgeny Pisarev.

The new century in ballet began with an exclusive production of the ballet La Fille du Pharaon by C.Pugni, the first full-length ballet by Marius Petipa, lost and recreated anew by order of the Bolshoi Theatre, by the master of ballet authenticity Pierre Lacotte. In the 2003-04 season, as if continuing the established tradition decades ago, Svetlana Zakharova, the leading ballerina of the capital's stage, moved to the Bolshoi Theatre from the Mariinsky, whose unique talent was brilliantly displayed, including in her performance of Lacotte.

In 2004, the year following the premiere of the ballet The Bright Stream by D. Shostakovich in his production, the position of Artistic Director of the ballet troupe was taken by Alexei Ratmansky. Over the four years of his time at this rank he realised the ballet productions: Jeu de cartes by I. Stravinsky (as part of the festival celebrating the 80th anniversary of Maia Plisetskaya, 2005), Le Corsaire (in the tandem with Yuri Burlaka, 2007) and The Flames of Paris (using the choreography of V. Vainonen, 2008). Later this list was enriched by Russian Seasons to music by Leonid Desyatnikov (2008), Lost Illusions by L. Desyatnikov (2011) and Romeo and Juliet by S. Prokofiev.

The next artistic director, Sergei Filin, demonstrated extraordinary personnel solutions. Very daring was the invitation to the Bolshoi the soloist of the American Ballet Theatre David Hallberg to the status of a full-fledged artist of the troupe – an offer he could not refuse, and therefore for several years regularly participated in the performances of the Bolshoi Theatre.

Makhar Vaziev, who took over as artistic director of the Bolshoi Ballet in 2016, has prioritized the search for talent both outside the troupe and within its ranks. Both under Sergei Filin and under Makhar Vaziev, the Bolshoi Ballet continued to be replenished with artists from the Mariinsky Theatre. In this way, both Evgenia Obraztsova and Yulia Stepanova, who became prima ballerinas, joined the troupe.

In the 21st century, the troupe got a real opportunity to try themselves in a variety of genres and styles. The Bolshoi Ballet mastered new ballets by George Balanchine, as well as ballets by John Neumeier, Jiri Kilian, William Forsythe, Hans van Manen, Maurice Bejart, the puzzling choreography of Twyla Tharp and the contemporary style in the opuses of Mats Eck, Paul Lightfoot and Sol Leon.

The world premiere of the one-act ballet Misericordes to the music of Arvo Pärt, staged by Christopher Wheeldon, and the world premiere of The Taming of the Shrew to music of Dmitry Shostakovich, were staged by Jean-Christophe Maillot (this was the first time when the famous French choreographer changed his principles and staged a performance especially for another troupe, not for the Monte Carlo Ballet directed by him).

Finally, the Bolshoi Ballet began to order music. The author of three ballets (2015, A Hero of Our Time; 2017, Nureyev; 2021, The Seagull), written especially for the Bolshoi Theatre, was the young St. Petersburg composer Ilya Demutsky. In 2019, Christopher Wheeldon once again collaborated with the Bolshoi Ballet Company, bringing his bright, spectacular ballet The Winter's Tale by J. Talbot, based on the play of the same name by Shakespeare, to the Moscow stage.

In 2021 the repertoire was enriched by a large-scale ballet by Edward Clug, whose popularity had long expanded beyond the Maribor Ballet (Slovenia) headed by him. It was one of the most ambitious projects of his career: the choreographer decided to demonstrate to the Russian audience his vision of the novel Master and Margarita by Mikhail Bulgakov.