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The judge dismissed the case against five other photographers who took pictures at the crash scene The newspaper also published a letter, allegedly written by Diana 10 months before her death, saying someone was planning a car accident "in order to make the path clear for (Prince) Charles to marry The trial, the latest judicial proceedings surrounding the high-speed crash, stemmed from a criminal complaint for invasion of privacy filed by Dodi Fayed's father, Egyptian-born billionaire Mohammed Al Fayed At the one-day hearing on Friday, the court is expected to set a later date to announce a verdict Celebrity photographers on motorcycles had been chasing Diana and Dodi Fayed after they left the Ritz Hotel in their car on Aug " After the letter was published, Mohammed Al Fayed urged a public inquiry, but that was rejected by the British government Three to Stand Trial for Diana Photos Oct 23, 11:38 AM EST Three photographers will go on trial in Paris on Friday for shooting pictures at the scene of the 1997 car crash that killed Princess Diana and her boyfriend, Dodi Fayed 31, 1997 Manslaughter charges against the three photographers were dismissed in 2002 by France's highest court Diana's relatives and the British royal family are not plaintiffs in the case The couple and chauffeur Henri Paul were killed when the car crashed in a Paris tunnel Photos taken at the site were confiscated, and none was ever published The new hearing in Paris comes as Britain's The Daily Mirror is publishing excerpts from "A Royal Duty," an upcoming memoir by Diana's former butler and confidant Paul Burrell Jacques Langevin of the Sygma/Corbis agency, Christian Martinez of the Angelis agency and free-lancer Eric Chassery face one year of prison and $53,000 fines The photographers were cleared last year of manslaughter charges in the crash and will now be tried only for pictures they took of Dodi Fayed An investigation into the crash concluded that Henri Paul had been drinking and was driving at high speed deccaclassics AP Review: Fleming Takes the Microphone Dec 12, 2:12 PM EST Renee Fleming's latest concert program sure was different html com/artists/fleming/index Noted for her interpretations of Strauss and Mozart â€â€? and lately, Violetta in Verdi's "La Traviata" â€â€? Fleming took up a microphone for the concert's final stages And given the freedom of a concert, she was able to show off, perhaps too much for the taste of some, singing with exaggerated portamento (note sliding) and filling her face with emotion He brought out an energetic sound from the orchestra during overtures that were interspersed "I just don't want you to worry," she said after the first encore " The earlier part of the program had the 44-year-old New Yorker revisiting some of her chestnuts: Fiordiligi's "Como scoglio (Like a Rock)" from Mozart's "Cosi fan tutte," "Adieu, notre petite table (Farewell, our little table)" and "Obleissons quand leur (Let us obey)" from Massenet's "Manon," and Strauss' "Morgen" and "Caecile â€â€?â€â€?â€â€? On the Net: http://carnegiehall org http://www "I'm keeping my day job " It was the kind of performance fans love and detractors hate The encores included "I Could Have Danced All Night" from Lerner and Loewe's "My Fair Lady" and Harold Arlen's "Over the Rainbow," and she closed with an amplified version of "Io son l'umile ancella (I am the humble handmaid)," the entrance aria from Cilea's "Adriana Lecouvreur Luke's at Carnegie Hall on Thursday night " Her voice was showcased best as Lauretta in "O mio babbino caro (Oh, dear daddy)" from Puccini's "Gianni Schicchi" and "Ebben, ne andro lontano (Well? I will go far away)" from Catalani's "La Wally Fleming started off with Cole Porter's "So in Love" from "Kiss Me, Kate," went on to "Moonfall" from Rupert Holmes' "The Mystery of Edwin Drood" and "You'll Never Walk Alone" from Rogers and Hammerstein's "Carousel " Wearing a black floor-length gown with peach lining in the capelike train, she bended the tunes to suit her like a veteran lounge singer, dropping in jazz sounds at times "Giving a soprano the possibility of speech is a little dangerous," she said during her performance with the Orchestra of St She put aside the Puccini and turned to show tunes, choosing to use amplification and talking to the audience between numbers Fleming's soprano is unmatched for its creaminess and her ability to sustain notes in the upper register " Patrick Summers, music director of the Houston Grand Opera, made his Carnegie Hall debut and accommodated Fleming's tempi choices She was far more successful with the show tunes than in the past, when she sang them unamplified and tended to overwhelm the words with operatic breath and diction |
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