Giunt`inPorto is an aria in one of the Operas of Frideric Handel. It is foundin the first Act of Opera Ottone. It talks about Ottone, the King ofGermany who is in love with a woman known as Teofone. The setting ofthe opera is in Rome and its environments. Gismonda, the wife of theformer king of Italy, has a dream of seeing her son, Adalbertobecomes the King of Italy. Her husband had been the King of thecountry illegally, and she is determined to ensure that the thronedoes not leave her family even after his demise (Landgrafand David, 108).Here Handel seems to have borrowed an idea from one of his earlierworks known as Keiser: Octavia wider. The great semblance between afake king in Keiser and This aria of Giunt’in Porto is quitethrilling. He does some modifications in the earlier works andchanges some sentiments so as to avoid an extreme level of repetitionof incidences between the aria and the earlier work done. Forinstance in Keiser, the fake king was put up by the subjects whowanted to help protect their territory. The instrumentation andmelodic lines have been greatly changed so that the ones in the ariado not resemble the one used on the earlier work of Keiser.
Inthe earlier work, the rhythm had a fast tone to show anxiety while,in this aria, the rhythm is quite slow in what appears to be Handel’sway of attracting a great level of attention to this piece and ensurethat the reader follows through the work with an extreme intent. Thecharacters envisaged in this part, who are Gismonda and Adelbertoseem to fit their roles quite perfectly as they bring out the messagethat Handel aimed. This message deals with the yearning to continueevil through aiming to go on with a rule that was illegal in thefirst place. This part of the aria is considered as a new piece,although it has borrowed some material from another work since Handelbrings in a whole new set of themes and characters that fit into thesetting in almost a perfect way.
Withinaria of Ottone, during this period, the territory of Italy was underthe possession of Germany, which was under the rule of King Ottone.For an extended period, Ottone had heard of the existence of a ‘fake’king within his territory and had made plans to ensure that herecaptures a grip of what belongs to him (Landgrafand David, 112).When he heard of the king’s death, he established this to be a veryconvenient moment to carry out what he had always wished for. He,therefore, set off on a journey with his aides to go and reclaim therule over the land of Italy. Among other goals that Ottone wasinterested in within the journey was to marry Teofone, a woman thathe loved and cherished (Landgrafand David, 110).She was the daughter of the empire of Byzantine. The empire wasalready in Rome, and the aides of Ottone had sent her his portrait asa gesture of goodwill and courtesy on the part of the King in a bidto ask her politely to give him the hand of her daughter formarriage. This factor made the emperor quite anxious about themarriage as she was elated that her daughter would now find someoneworthwhile to be her husband. She was also elated by the fact thather Teofonne was coming from a home of royalty (Pöhlmannand Martin, 33).This situation would be of benefit to in two distinct ways. One wasin them was in the view that she would be able to know how to behavewithin the royalty circles as she served her future husband. Thisaspect would accord her a very ample time as she served in themonarch of King Ottone since she had been brought up in the same kindof life. Byzantine was also happy because her daughter would not havethe rough time that she would likely have had she married a commonerand forced into a new kind of life that she was not prior acquaintedto in the first place.
Inthe above part of the aria, Handel seems to borrow some aspect ofreflectivity from one of his earlier work of Agrippina. Here, hedemonstrates how Byzantine looks forward to the marriage of herdaughter to Ottone. However, the also completely reworks the pieceand makes it quite different from the earlier work. Theinstrumentation is changed to be of a low tone, and the melody ischanged to be soothing (Keates,91).The character borrowed from the earlier work of Agrippina seems tofit into the role given in this aria because she shows lots ofdelights and high levels of expectations for the future. This part ofthe aria is quite original in its way despite the fact that it hasborrowed some elements from the earlier work of Agrippina because awhole new concept of marriage is introduced.
WhileKing Ottone set off for a journey to Italy, he was faced with somechallenge along the way. His convoy of ships was attacked at sea, andthey were forced to engage in a battle with the enemies so as todefend themselves. As a result, his journey was delayed by severaldays. During this time, Gismonda, the wife of the former illegal kingof Italy advice her son Adelberto to present himself as a bridegroomto Teofane in the pretense of being Ottone and then end up marryingher (Keates,91).Adelberto is quite happy with this idea and is happy with hismother’s level of ingenuity to help him ascend within the corridorsof power.
Handelalso seems to have borrowed from his earlier work of Cantata‘Amarilli vezzosa. Here, he applies an element of literal prowessthrough the application of some of the themes of resilience that aredepicted throughout the entire aria of Ottone. He has also completelyreworked these earlier pieces so as to make the new aria quiterelevant and in the context of what he aims to put across. He haschanged the kind of instrumentation that is used in the aria so thatthey show a tone of calmness while attempting to bring out some ofthe issues that are depicted within the aria. This has also led to agreat change in the melody of the aria and made it quite differentfrom that seen in the earlier work (Keates,92).The character, Ottone, seems to fit into the role that he has beenassigned and which aims to show that he is quite patient and willingto wait for the right time to go for what he wants. This part of thearia is considered as a new piece in totality although it hasborrowed some aspects in the earlier work of Amarilli vezzosa. Thisis because Handel has made great attempts to customize the materialfor the aria.
Keates,Jonathan. Handel:The Man & His Music.London: Bodley Head, 2008.  91, 92
Landgraf,Annette, and David Vickers. TheCambridge Handel Encyclopedia.Cambridge: Cambridge University Press, 2009. 108-112
Pöhlmann,Egert, and Martin L. West. Documentsof Ancient Greek Music: The Extant Melodies and Fragments.Oxford: Clarendon Press, 2001. 33