HUMOR: Renée Fleming and the Ninjas Arts Music Opera Visual Arts by Basil Considine - September 8, 2016September 8, 2016 Renée Fleming in an undated file photo by Andrew Eccles/DECCA. An example of the shuriken issued to specially trained Lead Ushers at the Ordway. Lead Ushers practice six hours per day to disable cell phones and unauthorized cameras at a distance, mid-concert, with minimal disruption to patrons’ concert experience. Following yesterday’s article about Renée Fleming’s sold-out Schubert Club concert, our staff have collected a series of photographs of past performances and publicity appearances by Ms. Fleming. These photos document the sometimes extensive lengths to which fans of Ms. Fleming will go to hear her beguiling soprano voice live in sparkling acoustics, dazzling theatres, and glamorous destinations. Would-be concert infiltrators are advised that ushers at the Ordway have been trained in parkour, spotting concert infiltrators, unarmed combat, and disabling cell phones and cameras from a distance with carefully thrown shuriken. No seats at the October 5 concert were available as of press time. However, tickets were reportedly selling fast for an afternoon master class for singers taught by Ms. Fleming at the MacPhail Center for Music on October 6. — The Twin Cities Arts Reader advises all concertgoers to abide by local laws, venue rules, and usher instructions when attending performances. Covert infiltrations are not recommended and in-concert photography and cell phone use is strictly discouraged. A concert infiltrator (Tonbei Thémist) hides under the piano during a London concert given by Ms. Fleming and Mr. Höll. Mr. Thémist, a notorious concert crasher, was pursued by security during intermission but successfully escaped into the fly system and was later reported watching the concert from the theatre’s central chandelier. Photo by Amy T. Zielinski/Redferns. A separate, unidentified Fleming fan (right, above piano) emerges from concealment to throw a bouquet of flowers to Ms. Fleming as she returns to the stage for a standing ovation before the first encore. Read the review. A well-concealed fan (right)’s subtle photobombing is revealed by the flash in this publicity photograph. Photo by Andrew Eccles/DECCA Records. About Latest Posts Basil ConsidineBasil Considine was the Editor of the Twin Cities Arts Reader from 2018-2022. He served as Performing Arts Editor and Senior Classical Music and Drama Critic for the Arts Reader's first five years, before succeeding Hanne Appelbaum. He was previously the Resident Classical Music and Drama Critic at the Twin Cities Daily Planet and remains an occasional contributing writer for The Boston Musical Intelligencer and The Chattanoogan. He holds a PhD in Music and Drama from Boston University, an MTS in Sacred Music from the BU School of Theology, and a BA in Music and Theatre from the University of San Diego. Basil was named one of Musical America's 30 Professionals of the Year in 2017. He was previously the Regional Governor for the National Opera Association's North Central Region and the 2021-2022 U.S. Fulbright Faculty Scholar to Madagascar. Latest posts by Basil Considine (see all) REVIEW: Moving, Funny, Striking English (Guthrie Theater) - July 22, 2024 REVIEW: The Time for Newsies is Now (Artistry) - July 21, 2024 PREVIEW: Behind the Story – Before Out of the Box Opera’s Suor Angelica - June 24, 2024 Share on Facebook Share Share on TwitterTweet