Having realized the plot, try to get some idea of the _style_ of the music, that is, whether it is an opera of the older classical school (Mozart, Cherubini, Weber, etc.), in which case it will split up into airs, duets, finales, etc., with music somewhat in the manner of the familiar sonata; or if perhaps it be an Italian work (Rossini, Donizetti, Verdi), with the same sub-divisions, but of a more tuneful and simple nature; or if a work of the “Grand Opera” school (Spontini, Meyerbeer), with massive stage effects and pompous musical utterances; or again, perhaps a modern work in the Wagner manner, with continuous non-divided music, and without definite tunes (melos and not rhythmic air); in this latter case, one or two of the chief _leit-motiven_ might be memorized, but I would not advise this class of opera for a first experience; it is too advanced. In any case, do not go without some clear idea as to the manner and style of the music to be listened to; if any of the work can be played through and made at all familiar beforehand, so much the better. [Sidenote: =Re-hearing Necessary=] With some sort of nodding acquaintance with the plot and the music, enjoyment may be attained if the work be not too complex; but even then I would say that it is not very easy to appreciate an opera at a first hearing; so that if opportunity arises for a second visit to the opera house to be paid, choose the same work that you have already heard. A first visit does little more than create an impression; a second visit will renew old impressions and convey further ones; a third visit would enable one to be on the look-out for special parts which have made special appeal; a fourth visit would, as a rule, constitute thorough enjoyment, provided the work be well performed. Of course there are some operas which can be easily appreciated at a first or second hearing, but these are the great minority, and I would suggest four visits before any judgment is passed; for an ordinary amateur to hear a new work and either praise or condemn extravagantly is nothing more or less than presumption; the more experienced and capable the critic, the more reserved is his judgment. Undoubtedly, for the more complex operas, four visits, unaccompanied by private study or by rehearing of the music, would be insufficient. [Sidenote: =How to Begin to Study Opera=]