Another aria that I would single out among the pieces from Handel's pastoral cantata is Polyphemus's "cavatina" of striking dramatical weight, constituting one of the rare examples of Handel creating a purely comical bass part.
The aria is connected very intimately with the previous selection: it acts as an introductory cavatina for the character; it uses a similar accompaniment to highlight, though, Polyphemus's buffoonery, to name just a few points of interest. In some ways, it acts as a foil to Galatea's aria which provides another extreme: perfect gentility and lyricism. The story is as follows: the giant Polyphemus [a love-stricken cyclops], more used to wreaking terror and devastation than feelings of love, attempts to woo Galatea, causing her to flee in horror.
Bryn Terfel is as close to being the character but does not harm the vocal splendor the aria calls for. Hope you'll enjoy :).