“Flower and Hawk” by Carlisle Floyd: Perceptions of truth and myth in the musical and dramatic character of Eleanor of Aquitaine

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I. Opera Role, October 26 and 28, 2000, Music Hall. The Rape of Lucretia by Britten: Female Chorus. II. Solo Recital, September 30, 2001, Morphy Recital Hall. “O, bid your faithful Ariel fly” by Linley, “Under the greenwood tree” by Arne, “Ophelia's Song” by White, “Chanson d'Ophélia” by Chausson, “Das Erstes Lied der Ophelia” by Strauss, “Orpheus with his Lute” by Vaughan Williams and Schuman, “Assisa a piè d'un salice…Deh calma, o ciel” from Otello by Rossini, “Winter” and “Dirge” by Argento, Three Songs from Shakespeare by Stravinsky, “Parting” by Pasatieri. III. Solo Recital, November 9, 2002, Morphy Recital Hall. “Prologo” from L'Orfeo by Monteverdi, Act II, scene vi from L'Egisto by Cavalli, “Hark! How all things,” “Bess of Bedlam,” “The fatal hour,” “If music be the food of love,” by Purcell, Esther by Jacquet de la Guerre, Der Weiberorden by Telemann. IV. Lecture Recital, February 12, 2003, Music Hall. “Flower and Hawk, Truth vs. Myth: Death, Incarceration, and Resolution.” This lecture-recital consists of a discussion of the musical and dramatic background to Carlisle Floyd's monodrama Flower and Hawk, and a staged performance with piano accompaniment. V. Final Solo Recital, April 4, 2004, Morphy Recital Hall. “Nacht ist wie ein stilles Meer,” “An Suleika,” “Suleika,” “Im Herbst,” Anklänge by Hensel, Twelve Poems of Emily Dickinson by Copland. VI. Written Project: “Carlisle Floyd's Flower and Hawk: Perceptions of Truth and Myth in the Musical and Dramatic Character of Eleanor of Aquitaine.” Times Roman, 12-point, double-spaced, 109 pages. This project provides an analysis of the musical and dramatic motives that contrast truth with myth depicted in six episodes from the life of Eleanor of Aquitaine; a discussion of current attitudes about Eleanor; preparation for performance; and Floyd's place in the operatic repertory.