The opera is based on a combination of two mythological stories involving the cyclops Polyphemus: His killing of Acis and his blinding by Ulysses.

The premiere of Handel's oratorio Deborah with prices in excess of what patrons would pay for an opera led to some consternation on the part of the public.

Securing the theatre at Lincoln's Inn Fields, their first production was Porpora's Arianna in Naxo with a libretto by Rolli, presented 29 December 1733.

[11] For the 1734–35 season, Handel's company took up residence at Covent Garden, allowing the Opera of the Nobility to take over King's Theatre at Haymarket.

Italian opera in London depended on bold dramatic and scenic effects along with occasionally pageantry which would in turn inspire composers to produce evocative music.

[14] Musicologist Darryl Jacqueline Dumigan wrote that in his writing he was "able to push the boundaries of the static opera seria conventions with a greater freedom of structure that challenged the prevailing rigid formula of alternating action contained in secco rcitative with suspension aria.

Despite Polifemo being an ugly and evil cyclops, he is allowed to show another side of his personality by revealing his despair at having lost his sight.

[22] The other libretto gives the date of 1734 but is actually from 1735 (since at that time the English reckoned the new year from 25 March), includes Nerea in a list of characters, and is 69 pages.

[23] Based on her study of the published libretti, Darryl Jacqueline Dumigan believed the revised version of Polifemo is the one with the shorter libretto where the character of Nerea is eliminated.

Scene 1: A calm sea by the Sicilian shore, in sight of Mount Etna The chorus sings of two goddesses (Vien bell'Aurora).

Polifemo responds that the flames in his heart are greater than those of Mount Etna (M'accendi 'n sen col guardo).

(In the first version: Nerea encourages Calipso to use her charms in mollifying Polifemo in order to liberate Ulisse from the cave where he and his men are protecting themselves (Una beltà che sa’.)

Scene 2 Ulisse approaches with a flock and tells Calipso that Polifemo has given him a shepherd's tasks, and that his men are held captive in a cave.

Calipso tells him not to worry because the gods are on his side (Lascia fra tanti malì) (early version:Nel rigor d'avversa stella) Ulisse remarks on her kindness (Fortunate pecorelle!).

Scene 3 Aci revels in his infatuation for Galatea (Lontan dal solo e caro...Lusingato dalla speme) (First version: Zeffiro lusinghier).

Scene 4: A view of the sea Preparing to meet Polifemo, Galatea sails in her seashell, encouraging the breezes to bring her to Ulisse (Placidetti zeffiretti).

Scene 7: A grove Aci and Galatea express their love despite foreboding feelings of fear (Tacito movi e tardo).

Indeed, much of the new taste, and new passages of this period, seems to have been derived from Porpora's songs; that the difference of style and fancy in the airs of Farinelli with those that were sung by Nicolini two or three and twenty year before, is wonderful.

..The King, Queen, Prince of Wales, and Princesses, honoured the first representation of Polifemo with their presence, and there was the fullest house of the season.

"[27]"Of the five airs that were expressly composed for the talents of this great singer, the first [Lusingato dalla speme] was a mezza bravura, accompanied on the hautbois by the celebrated San Martini.

The second air [Senti il fato], which abounds with phrases manquées, has long notes in distant intervals, and brilliant divisions, to display the voice and execution of the performer.

The third air Alto Giove which is a cantabile, has elegant passages, and seems well calculated to shew the taste and expression of a superior singer.

The fourth air [Dolci fresche] is languid, common, and uninteresting, on paper; how it was embellished and meliorated by the voice and pathetic powers of Farinelli, those can best imagine, who have been delighted with the performance of a great singer, in spite of bad music.

The fifth air [Nell'attendere il mio bene] is a bravura with innumerable unmeaning shakes, and divisions that are now become common and insipid.

[31] Another example of Rolli's daring is his taking on the liaison des scènes, a dramatic convention that disallowed the stage to be empty at any time.

As the lines of Aci's cavatina closely resemble Galatea's with the same music, Rolli and Porpora make clear this is an expanded and modified da capo aria.

Dumigan states that its use was to carefully "delineate the characters, their emotions and the inherent drama"[35] as well as "to intensify moments of action and frenzy.

[41] It included the following: Several years later (approximately 1740), Walsh reprinted the seven arias and added Fortunate pe cor che and D'un disprezzato amor for volume 2 of his compilation Le delizie dell'opere.

Various arias have been recorded by Vivica Genaux, Philippe Jaroussky, Cecilia Bartoli, Franco Fagioli, and Simone Kermes.

The production took place at UC San Diego Park and Market on July 19 & 20, 2024, and it was directed by Daria Zholnerova and conducted by Peter Kozma.