• Source: Teseo

Teseo ("Theseus", HWV 9; Italian pronunciation: [teˈzɛo]) is an opera seria with music by George Frideric Handel, the only Handel opera that is in five acts. The Italian-language libretto was by Nicola Francesco Haym, after Philippe Quinault's Thésée. It was Handel's third London opera, intended to follow the success of Rinaldo after the unpopular Il pastor fido.
First performed on 10 January 1713,Teseo featured "magical" effects such as flying dragons, transformation scenes and apparitions and had a cast of notable Italian opera singers. It was a success with London audiences, receiving thirteen performances even though the stage machinery for the "magical" effects broke down, and would have received more performances had not one of the theatre's managers run away with the box office receipts.




Performance history



The opera was premiered at the Queen's Theatre in the Haymarket on 10 January 1713. It received an additional 12 performances through 16 May 1713, a mark of success at those times. The singers included the castratos Valeriano Pellegrini and Valentino Urbani. Between 1713 and 1984, there were only two revivals, the first being the revival under Fritz Lehmann in Göttingen on 29 June 1947. As with all Baroque opera seria, Teseo went unperformed for many years, but with the revival of interest in Baroque music and historically informed musical performance since the 1960s,Teseo, like all Handel operas, receives performances at festivals and opera houses today. Among other productions, the Handel Festival, Halle performed the work in 2003, the Frankfurt Opera mounted a production in 2013, and the work received a staging at the Theater an der Wien in 2018.




Roles






Synopsis


Scene:Athens, in legendary antiquity
King Egeo of Athens, years before the action begins, had sent away his baby son to a far-off land. Now a grown man, the hero Teseo is fighting on behalf of Athens, his identity as the king's son unknown to himself or others.




= Act 1

=
Teseo is engaged in battle against Athens' foes as the opera begins. Princess Agilea, the ward of King Egeo, is concerned for Teseo's safety, as she confides to her companion the young maiden Clizia, for Agilea has fallen hopelessly in love with Teseo. Clizia has a boyfriend, Arcane, whom she promises to love always, but when she asks him to find out what he can about Teseo's safety, he becomes jealous.
The Athenians have been victorious in battle, and King Egeo declares that his announced marriage to Medea, a sorceress, is now no longer suitable for such a mighty sovereign as himself and he will take Princess Agilea as his bride. Agilea bewails her cruel fate, having no wish to be a Queen, but to be allowed to marry the man she loves, Teseo.




= Act 2

=

Medea is furious at the humiliation caused to her by the King's rejection; she is somewhat mollified when the King comes to her and suggests she marry the hero Teseo instead of him as she is in fact in love with Teseo already.
Arcane, who is jealous of Teseo because of his misinterpretation of his sweetheart Clizia's concern for him, warns the King not to trust Teseo who, Arcane suggests, will want to throw Egeo off the throne and take his place now that he has become such a military hero.
Medea meanwhile sows seeds of distrust in Teseo's mind – the King is jealous of him, Medea says, and only she knows how to treat the King to allay this bad feeling. Teseo tells Medea he trusts her to put the situation right. Medea, full of hatred, vows revenge for the insults she has suffered.




= Act 3

=
Arcane has decided to put his jealousy behind him and seek marriage to Clizia.
The King, learning that Agilea is in love not with him but with Teseo, does not wish to force her to marry him and has given his consent for Agilea and Teseo to be united. The lovers are overjoyed at this news but Medea, insulted and rejected once more, bursts into the room where Agilea and Teseo are celebrating their reunion and, by casting spells, changes the scene to a desert full of terrifying apparitions who carry Agilea away.




= Act 4

=
The King is told by Arcane of how the witch Medea spirited Agilea away. The horrified Egeo swears she will be punished.
In the enchanted realm where Agilea is captive, Medea tells her she must agree to marry the King instead of Teseo, or the hero will meet his death. Medea shows her a vision of the sleeping Teseo, menaced by specters about to kill him. Agilea agrees to renounce him and marry the King instead to save Teseo's life, whereupon Medea transforms the scene to a paradisaical realm where Teseo hears Agilea's voice tearfully telling him she no longer loves him. Agilea's sorrow moves the heart of Medea who informs the lovers she will no longer attempt to part them, to the joy of Teseo and Agilea.




= Act 5

=

Medea's sympathy for Teseo and Agilea's love did not last long; once again tormented by jealousy, she has convinced the King that Teseo is a threat to his throne and gives the King poison to put in Teseo's drink.
Teseo and Agilea enter with their friends, celebrating their marriage. The King offers to drink to their happiness and gives Teseo the poisoned drink to toast with in return. Teseo draws his sword to swear his loyalty to the King and is about to drink the poisoned beverage when the King recognises the sword as the one he had sent with his baby son years before so that he would be able to recognise him when grown up. The King dashes the cup from Teseo's hand and embraces him as his son. Not only will Teseo and Agilea now live in married happiness, Arcane and Clizia can marry too. The enraged Medea appears on a flying chariot drawn by fire-breathing dragons. Swearing vengeance, she orders the dragons to set the palace on fire, but the goddess Minerva descends from heaven, banishes Medea, and blesses the King, the two pairs of lovers, and Athens.




Context and analysis



The German-born Handel, after spending some of his early career composing operas and other pieces in Italy, settled in London, where in 1711 he had brought Italian opera for the first time with his opera Rinaldo. A tremendous success, Rinaldo created a craze in London for Italian opera seria, a form focused overwhelmingly on solo arias for the star virtuoso singers. Rinaldo, a "magic" opera featuring enchantments, sorceresses and scenic ingenuity, had been followed by Il Pastor Fido, a shorter and simpler opera, which was not a success with London audiences at its first performances. Therefore, Handel returned to the "magic" form with Teseo, for the first and only time in his many operas using a five-act structure instead of the usual three, and deviating from the convention in Italian opera seria that singers performed their arias and then left the stage. These differences are due to the fact that Teseo uses an adaptation of a French libretto written by Philippe Quinault for Jean-Baptiste Lully,Thésée, presented in Paris in 1675.
After the second performance theatre manager Owen Swiny stole the box office receipts and disappeared, leaving the musicians unpaid. The singers decided to continue the run however, splitting the costs and profits between themselves. Handel does not seem to have held a grudge against Swiny, as he later acted as an agent for Italian opera singers in Handel's London operas.

The stage machinery for the special "magic" effects did not always function smoothly, as can be seen by a notice put into a London newspaper on 24 January: 'This present Saturday...the Opera of Theseus by Mr. Hendel will be represented in its Perfection, that is to say with all the Scenes, Decorations, Flights, and Machines. The Performers are much concerned that they did not give the Nobility and Gentry all the satisfaction they could have wished, when they represented it on Wednesday, having been hindered by some unforeseen Accidents at that time insurmountable.
Teseo has a rich orchestration, with the usual strings, oboes, bassoon and continuo instruments of Handel's opera orchestra augmented by flutes and trumpets. The singer Elisabetta Pilotti-Schiavonetti in the role of Medea, who specialised in playing sorceresses, and for whom Handel had written the similar part of Armida in Rinaldo and later the role of Melissa in Amadigi di Gaula was the star of the show, and Handel's music distinguishes between her vengeful character and that of the other leading female part, the sweet Princess Agilea.

18th century musicologist Charles Burney wrote of the accompanied recitatives for Medea:in which the wild and savage fury of the enraged sorceress, Medea, and her incantations, are admirably painted by the instruments.




Recordings






= Audio recordings

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= Video Recording

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References


Notes

Sources
Casaglia, Gherardo (2005). "Teseo, 10 January 1713". L'Almanacco di Gherardo Casaglia (in Italian).
Dean, Winton; Knapp, J. Merrill (1987). Handel's Operas, 1704-1726. Clarendon Press. ISBN 0193152193. The first of the two volume definitive reference on the operas of Handel
Hicks, Anthony (1998), "Teseo", in 'The New Grove Dictionary of Opera', ed. Stanley Sadie. London: Macmillan. ISBN 0-333-73432-7




External links


Italian libretto.
Score of Teseo (ed. Friedrich Chrysander, Leipzig 1874)
Teseo: Scores at the International Music Score Library Project
• Source: TESEO

Tecnica Empirica Stima Errori Operatori (TESEO) is a technique in the field of Human reliability Assessment (HRA), that evaluates the probability of a human error occurring throughout the completion of a specific task. From such analyses measures can then be taken to reduce the likelihood of errors occurring within a system and therefore lead to an improvement in the overall levels of safety. There exist three primary reasons for conducting an HRA; error identification, error quantification and error reduction. As there exist a number of techniques used for such purposes, they can be split into one of two classifications; first generation techniques and second generation techniques. First generation techniques work on the basis of the simple dichotomy of ‘fits/doesn’t fit’ in the matching of the error situation in context with related error identification and quantification and second generation techniques are more theory based in their assessment and quantification of errors. ‘HRA techniques have been utilised in a range of industries including healthcare, engineering, nuclear, transportation and business sector; each technique has varying uses within different disciplines.
This is a time based model that describes the probability of a system operator's failure as a multiplicative function of 5 main factors. These factors are as follows:

K1: The type of task to be executed
K2: The time available to the operator to complete the task
K3: The operator's level of experience/characteristics
K4: The operator's state of mind
K5: The environmental and ergonomic conditions prevalent
Using these figures, an overall Human Error Probability (HEP) can be calculated with the formulation provided below:
K1 x K2 x K3 x K4 x K5
The specific value of each of the above functions can be obtained by consulting standard tables that take account of the method in which the HEP is derived.




Background


Developed in 1980 by Bello and Colombari, TESEO created with the intention of using it for the purpose of conducting HRA of process industries. The methodology is relatively straightforward and is easy to use but is also limited; it is useful for quick overview HRA assessments, as opposed to highly detailed and in-depth assessments. Within the field of HRA, there is a lack of theoretical foundation for the technique, as is widely acknowledged throughout.




TESEO Methodology


When putting this technique into practice, it is necessary for the designated HRA assessor to thoroughly consider the task requiring assessment and therefore also consider the value for Kn that applies in the context. Once this value has been decided upon, the tables, previously mentioned, are then consulted from which a related value for each of the identified factors is found to allow the HEP to be calculated.




Worked Example


Provided below is an example of how TESEO methodology can be used in practice; each of the stages of the process described above are worked through in order.




= Context

=
An operator works on a production transfer line that operates between two tanks. His role is to ensure the correct product is selected for transfer from one tanker to the other by operating remotely located valves. The essential valves must be opened to perform the task.
The operator possesses average experience for this role. The individual is in a control room that has a relatively noisy environment and poor lighting. There is a time window of five minutes for the required task.




= Method

=
The figures for the HEP calculation, obtained from the relevant tables, are given as follows:

The type of task to be executed: K1 = 0.01
Time available to complete the task: K2 = 0.5
Level of experience: K3 = 1
Operator's state of mind: K4 = 1
Environmental and ergonomic conditions: K5 = 10
The calculation for the final HEP figure is therefore calculated as:

K1 x K2 x K3 x K4 x K5
=0.01 x 0.5 x 1 x 1 x 10
= 0.05




= Result

=
Given the result of this calculation, it can be deduced that were the control room notified of the valves’ positions and if the microclimate was better, K5 would be unity, and therefore the HEP would be 0.005, representing an improvement of 1 order of magnitude.




Advantages of TESEO


The technique of TESEO is typically quick and straightforward in comparison to other HRA tools, not only in producing a final result, but also in sensitivity analysis e.g., it is useful in identifying the effects improvements in human factors have on overall human reliability of a task. It is widely applicable to various control room designs or with procedures with varying characteristics.




Disadvantages of TESEO


There is limited work published with regards to the theoretical foundations of this technique, in particular relating to the justification of the five factor methodology. Regardless of the situation, it remains to be assumed that these 5 factors are suffice for an accurate assessment of human performance; as no other factors are considered, this suggests that to solely use these 5 factors to adequately describe the full range of error producing conditions fails to be highly realistic. Further to this, the values of K1-5 are unsubstantiated and the suggested multiplicative relationship has no sufficient theoretical or empirical evidence for justification purposes.




References

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