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1 hit records, was nominated for an Academy Award for her role as Billie Holiday in the 1972 "Lady Sings the Blues," has had more than 70 hit singles She also was sentenced to a year of unsupervised probation and fines and fees totaling $852 Results of breath tests showed Ross had a blood alcohol concentration of 0 A no-contest plea is a permitted way for a defendant to say he or she does not contest the allegation without admitting guilt, said Michael Piccarreta, a prominent defense attorney in Tucson Arizona's legal limit is 0 Jay Cranshaw found the Grammy-nominated singer guilty of DUI even though she did not admit guilt under the plea deal 30, 2002, after a motorist called to report a car traveling southbound in northbound lanes on Sabino Canyon Road just outside Tucson's city limits "She got whatever an ordinary citizen who received the same citizen would have received, based on the fact that there's a problem with the toxicology quality assurance reports," said Ronald Beran, a deputy city attorney Ross, who spoke with the judge by telephone from New York, pleaded no contest to DUI; two other related charges were dropped as part of a plea agreement "You're still found guilty 20 percent, police said 08 He sentenced her to serve 48 hours in jail before March 9 and to complete at least 36 hours of alcohol abuse treatment by Aug She was arrested by Tucson police on Dec A prosecutor said afterward that the city agreed to dismiss charges of driving with a blood alcohol concentration of 0 Diana Ross Convicted of DUI Feb 9, 4:29 PM EST Pop singer Diana Ross was convicted Monday of driving under the influence and ordered to spend two days in jail Ross rose to stardom as lead singer of the Supremes during the 1960s, with 14 consecutive No 15 percent or more because there were problems with getting blood alcohol test results printed the day after the tests were administered Ross, 59, asked no questions and had no comments during the hearing other than thanking the judge Tucson Magistrate T Ross won Golden Globe and American Music awards and been a Grammy Award nominee at least nine times 9 It's a finding of guilt without an admission of guilt by the accused," he said 08 percent or more and extreme DUI with a blood alcohol concentration of 0 The piece bubbles along with unflagging inspiration through its long first act and into the second, but the momentum sags about the time the pope arrives to set up the final crisis: Cellini must complete the statue by that evening or be hanged The plot calls for colorful characters in virtually every scene, from Mardi Gras revelers, to commedia dell'arte performers to hard-drinking metalworkers All this frenetic activity makes it difficult to focus on the story and mars what should be magical moments, like the tender Act 1 love duet between Cellini and Teresa and the brilliant comic trio that follows, as his rival, Fieramosca, eavesdrops on their elopement plans In his depiction of 16th century Italian society, the title character is a rebel who refuses to play by the rules (much like the composer) and gets into trouble, inadvertently killing one of his enemies But it's a work brimming with youthful genius, wit and high spirits, and Thursday night's first-ever performance by the Metropolitan Opera was long overdue The costumes by Georgi Alexi-Meskhishvili are for the most part colorful and imaginative, though the pope's hooded henchmen are eerily reminiscent of the executioners who tossed the heroine into a vat of boiling oil at the end of Halevy's "La Juive," the Met's other new production of the fall org Isabel Bayrakdarian was a delight as Teresa, her light, silvery soprano caressing the vocal line with delicacy, yet showing surprising power in the ensembles Similarly the lavish revolving set by George Tsypin, who designed the very effective sets for Met premieres of Prokofiev's "The Gambler" and "War and Peace," is too elaborate for its own good As the hero, tenor Marcello Giordani cut a dashing figure and sang well, unfazed by the many high notes the part demands (he didn't shy away from the optional D flat in the first act trio) " In "Cellini," Berlioz was paying tribute to the free-spirited artist as well as the artistic process itself Against all odds, the casting is flawless The opera itself is hardly that The first American performance wasn't until 1975 in Boston, and it's still seldom performed â€â€?â€â€?â€â€? On the Net: http://metopera Unfortunately, the Met's new production by esteemed stage director Andrei Serban doesn't help For James Levine and the Met orchestra, unearthing this Berlioz rarity was clearly a labor of love, and they played with unflagging energy and affection The opera was a failure at its first performance in Paris in 1838 and underwent various revisions over the next decades, including an 1851 version that Franz Liszt helped arrange for Weimar But these aren't enough for Serban, who insists on stuffing the stage full of additional extras like acrobats, angels and, most annoyingly, an actor who wanders about, apparently representing the composer himself " Much of the problem stems from the opera's schizophrenic identity, a mix between a serious work fully set to music and a comedy with spoken dialogue filling the gaps between numbers AP: 'Cellini' Is Youthful Genius Dec 5, 2:15 PM EST At the climax of Hector Berlioz's "Benvenuto Cellini," the embattled sculptor melts down all his previous creations because he's run short of metal for his masterwork â€â€? the statue of Perseus holding the head of Medusa It marked the second of two new productions honoring the bicentennial of the French composer's birth, following last season's staging of "Les Troyens Some of the melodies are familiar, however, because Berlioz lifted them for his "Roman Carnival Overture The endless curving staircases at either side of the stage serve little purpose other than as gathering points for those distracting extras Bass Robert Lloyd, playing Pope Clement VII in a wheelchair, struggled a bit in his lower register but created an imposing figure of a testy potentate Mezzo Kristine Jepsen, as the apprentice Ascanio, made a big hit with her second-act "Tra la la" aria, and there were strong contributions from bass John Del Carlo, as Teresa's father, Balducci, and baritone Alan Opie as Fieramosca The final casting scene, which should be musically and dramatically thrilling, is episodic and slack But he triumphs in the end, winning the hand of his beloved, Teresa, and even gaining a pardon from Pope Clement VII, who commissioned the statue |
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