This house was actually a simple wooden shed, and, apparently, "opera" was the least heard. Athos Damasceno believes that before the conclusion of Theatro São Pedro in 1858, there would have been no conditions to assemble real operas in Porto Alegre, with several singers, a great orchestra and choir.[7] Although, due to the absence of descriptions, it remains to be seen what the real nature and quality of these so-called operas represented there might have been, everything leads us to believe that they followed the same popular patterns in larger centers such as Rio de Janeiro and São Paulo, where on the same night a heterogeneous program was shown to the public, consisting of circus acts and theatrical plays of popular appeal interspersed with pieces of music, including serious works such as piano sonatas and Neapolitan songs, alongside improvisations and ballroom music such as mazurkas and waltzes.[8]