This article examines Handel's opera Orlando from the period of the new Royal Academy of Music (1729–1734). Handel's operas contain many compelling musical elements which impart information and contribute to the richness of his dramatic acts. This article illustrates the various components of compositional practices such as harmonic progression, rhythm, key changes, and chromaticism in Orlando. The second part explores the application of his theatrical gesture of opera. His music releases the meaning of the texts and conveys the content of expression to the audience in a unique way. Finally, this article studies and examines the overture and three arias of the character Zoroastro from Handel's Orlando by comparing several adjacent arias as a group. By studying the role of Zoroastro, we will find that Handel's musical language in opera contains a hidden complexity displayed through the following: expression of tonality and key signature; certain qualities or characteristics of a wider range both in the vocal line and orchestra; and application of ostinato and cross-rhythm in order to enhance the textual meaning. The study shall benefit our ongoing comprehension of Handel's power for evoking the audience's interest, attention, and admiration which are identified when listening to, performing, and analyzing his arias.