Deidamia was Handel's last opera. Thought by some to be a masterpiece of operatic and theatrical writing, it is based on a fine libretto by Rolli, a former rival of Handel's opera company, and writer for the infamous Opera of the Nobility. Handel writes in a galant, elegant musical style in this opera. He uses many dance forms and idioms, and mixes wild comedy with serious and beautiful love music. The complex plot is extremely buffo in character, and gives rise to both poignant and hilarious situations for the main protagonists. The scenic constructions are very free, and the drama unfolds with brilliance and wit. The part of Achilles was written for a woman, and indeed Achilles spends most of the opera disguised as a lady of the court. While disguised as Pyrra, he has a love affair with Deidamia, and must dodge the advances of the ever perspicacious Ulysses, who is sure he sees through the hero's ruse, and courts him ardently in order to catch him up. Achilles' opening love music, as well as Deidamia's, is in lilting minuet rhythm, as they let the audience in on the secret of their clandestine affair. The love music for the rest of the cast is also delightful, as the various characters woo one another and trap each other in comic buffo situations.

Handel's resources were limited at this time, so he could not create elaborate spectacles. However there is a hunting scene in Act II, during which Ulysses notices that Achilles/Pyrrha has much prowess with the spear. By Act III, the buffo denouement is set up, and Achilles is discovered and trapped. The lead castrato star in the opera is Ulysses. But rather than "get the girl" in the end, it is his job to break up the secret love affair between Achilles and Deidamia, and return Achilles to the life of a warrior. Thus the ending is poignant, as Deidamia must bid Achilles good-bye, and does not resolve with the usual wedding bans and duet for castrato and soprano leads.

Deidamia was composed immediately after Imeneo. Handel began working on the opera in October of 1740, and it premiered in January of 1741. It also was a complete failure, and received only three performances, the last of which was February tenth, 1741. This was also the last performance of a Handel-produced Handel opera in London, and marks a huge turning point in his career. Henceforth, he would dedicate himself to the newly created genre of the English Oratorio, and never turn to Italian opera in London again.

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