CONGREGATION SHAAR HASHOMAYIM prese nts
A Concert inTribute to Richard Tucker T
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Sunday, May 2, 2010
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“...Richard Tucker was one of my gods. In my life, there has always been that great voice to use as an inspiration…” LUCIANO PAVAROTTI
“...Tucker in any era would have been outstanding for his consistent brilliance…” SIR RUDOLF BING, FORMER GENERAL MANAGER METROPOLITAN OPERA
“...There is no question that he was one of the great singers, with a fabulous voice, sensationally endless energy and commitment and a tremendous technical know-how. There are few people one imagines will go on forever. In a sense, Richard Tucker will…” JAMES LEVINE, MUSIC DIRECTOR METROPOLITAN OPERA
“...I could never get over how fantastically he sustained his vocal powers, how indeed they seemed to grow as time went on. He was a wonderful colleague, and what touched me most was his deep religious belief and his love of his family…” LEONTYNE PRICE
This concert was made possible through the generosity of
THE RIGHT HONOURABLE LEO K2OLBER, OC and RONI GANDELL
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Dear Friends: s Chair of Congregation Shaar Hashomayim's Music Committee, it is with great pleasure that I welcome you to “A Concert in Tribute to Richard Tucker”.
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My thanks to all members of the Congregation as well as the wider Montreal Jewish community for their commitment and support of our music programming.
The last few years has seen an unprecedented increase in the frequency and variety of musical events taking place at Congregation Shaar Hashomayim. We have had large-scale concerts with orchestra and chorus, two series of Parlour Concerts, Cantorial Concerts, lectures on Jewish music as part of our Tuesday Night Learning program, concerts with jazz band, special services with two cantors – and more! Tonight continues that tradition of innovative and entertaining programming.
Dr. Mel Hershenfield
Please join us on May 12 as we celebrate Yom Y’rushalayim with a special concert in a novel venue: the Paperman Lobby at Congregation Shaar Hashomayim. On the back of this program book are details of the other Parlour Concerts: The American Songbook on June 9 and Cantorial Masterpieces on June 28. My admiration and gratitude go out to Cantor Gideon Zelermyer, Director of Music Stephen Glass, and the Shaar Hashomayim Synagogue Choir, for their untiring efforts to bring us inspiring music in our synagogue services, as well as concerts of the highest quality.
Richard Tucker at the Kotel
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heirs to that legacy. Joseph Kaiser, having sung as soloist in a number of major Shaar Hashomayim Concerts and contributed so much to our High Holy Day Parallel Services Choir, has gone on to achieve worldwide recognition and is in the midst of an extraordinary career. Cantor Gideon Zelermyer, apart from his love and encyclopedic knowledge of opera, is widely regarded as one of the finest cantors of his generation, not only because of his glorious voice, but because of his impeccable musical taste, style and artistry. I can think of no better individuals to lead tonight's tribute.
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s I complete my 20th year as Director of Music at Congregation Shaar Hashomayim, I am thrilled that we have the opportunity to present our Concert in Tribute to Richard Tucker.
Tonight is meaningful in so many ways. It is a reaffirmation of our Congregation's own musical mission statement. The belief that music in the synagogue can strive for many of the same goals that you would find in the world of professional music-making: quality of delivery, musical values related to thoughtful interpretation, thorough rehearsal, variety of repertoire. The best music need not be restricted to the world of entertainment. Judaism can and should have high quality, beautiful music in synagogue.
Many thanks to all of you who have joined us for this special evening. Thank you to the members of our Congregation who provide constant encouragement to me, Cantor Zelermyer and the Synagogue Choir, as well as to all those who appreciate our primary goal of providing the best music possible.
Growing up in the UK, I was certainly familiar with Richard Tucker's Jewish legacy. His recordings of Zawel Zilbert's Havdalah and Sholom Secunda's Tzadik Hashem were (and still are) classics—the definitive recordings. At the time, I was struck by the partnerships that existed between the composer/conductor and the soloist. Their names were inseparable. Their Jewish musical legacy, in many ways intertwined. The significance of the fact that Shaar Hashomayim's standard repertoire includes some of these signature compositions and that Cantor Gideon Zelermyer and myself are able to collaborate in the way that we do, is not lost on me and provides meaningful pause for thought. The major theme of tonight's event, is the fact that in so many ways, Richard Tucker embodied the highest level of achievement both as an international opera singer and as a cantor. Our soloists tonight are perfect
Finally, thank you to Congregation Shaar Hashomayim, for believing that high quality Jewish music is a priority. I think that Richard Tucker would agree! Stephen Glass
Richard Tucker with Sholom Secunda
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Dear Friends: hank you for joining us on what is an extremely meaningful night for me both professionally and personally. A celebration of the life and accomplishments—both Jewish and operatic—of Richard Tucker touches me on many different levels:
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This event has given Joseph Kaiser and me our first opportunity to publicly celebrate our mutual admiration through a musical collaboration. I have always admired him as a human being and as a singer, and I hope that this might be the first of many such team efforts. Go Habs Go!
It reminds me of my Grandfather, Dr. Max Zelermyer, who spoke of Richard Tucker reverentially all through my childhood and never missed an opportunity to play his recordings for me when I began to fall in love with opera.
Perhaps most of all, tonight I get to celebrate the opera lover in me! I can only imagine what it must have felt like to be Jewish and to walk into the Metropolitan Opera to see Richard Tucker, Robert Merrill, Beverly Sills, Roberta Peters, Leonard Bernstein, or any of a number of great Jewish musical luminaries perform. This event is really dedicated to them: thank you for making us proud and for giving young artists like Joseph and me something to strive for.
It is meaningful to me to praise one of the progenitors of a truly American style of Chazanut, from the style and musical language that he and Sholom Secunda created, to the Hebrew diction that was both impeccably clear and idiomatically distinct from the Eastern European style of the pre-World War II generation of cantors. The relationship between cantor and conductor that existed between Richard Tucker and Sholom Secunda reinforces the mission that Stephen Glass and I feel strongly guides our professional lives: to provide a contemporary synagogue musical experience which pays stylistic homage to the past while looking harmonically to the future.
Finally, events such as this would be impossible without the help of friends. My heartfelt thanks to Senator E. Leo Kolber and Roni Gandell for making this evening become a reality. Your friendship means so much to me and my family, and your generous support of musical activities at The Shaar helps us as we continue to strive for musical excellence. Enjoy the evening!
It evokes memories of my dear friend and mentor, Rabbi Mark G. Loeb, whose love of opera and friendship with the Tucker family provided much of the impetus for this event. I am only sorry that his untimely passing prevented him from seeing it to fruition.
Gideon Y. Zelermyer
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anywhere else in the New York area. Dad began taking the family with him on his travels as soon we were old enough and I have the most wonderful memories of hearing him sing in Verona, and Florence and La Scala Milan, as well as in all parts of America. While his career was cut short, his time on earth was filled with happiness, fulfillment and accomplishments both personal and professional.
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am delighted and proud to be here today to celebrate the artistic and personal legacy of my father, Richard Tucker, and I thank you for this honor. Much has been written about the operatic career of Richard Tucker but less is known about his Cantorial career and personal life. My father was and always remained a deeply spiritual man, devoted first and foremost to his family—my mother, Sara, and my brothers David and Henry, and to me. He began as a Cantor and never strayed from his religious commitment, returning to the bima on the High Holy Days throughout his operatic career. He believed strongly in the State of Israel and performed there regularly both in concert halls and synagogues. He sang in Israel during the Six Day War and the Yom Kippur War as well as during other defining moments in that nation’s history. He was an enormously proud Jew and American.
Today, my father's legacy lives on in the Richard Tucker Music Foundation, created by my family following his untimely death in 1975. Our Mission is to support the careers of talented young American opera singers with grants and awards to help them continue to build their careers. Renee Fleming, Matthew Polenzani and Deborah Voight are just some of the wonderful singers who have received Richard Tucker Awards over the years and we are confident that the 2010 Tucker Award winner, tenor James Valenti, will do us proud, as well. I am sure you will enjoy reminiscing with me about my father, Richard Tucker, and I thank you for honoring him with this tribute, and for inviting me to participate in it with my many friends in Montreal.
As a father he had no peer. While he traveled extensively as an opera star, not a day went by that he didn’t call home from wherever he was in the world—and this was well before the cell phone and Blackberry era. When my mother was not with him, she used these calls home mostly to tattle on us and keep Dad in the loop on our boys-will-be-boys antics.
Sincerely, Barry Tucker
Starting in my late teens, I began to engage actively in his career and rarely missed a performance at the Met. or
Facing photo left to right : Richard Tucker, and his sons David, Henry in front and Barry, backstage with Bob Hope
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Eleazar, in La Juive
Enzo, in La Gioconda
Mario Cavaradossi, in Tosca
Riccardo, in Un Ballo in Maschera
Andrea Chenier, in Andrea Chenier
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The Anniversary Song ....................................................I. Ivanovic adapted by A. Jolson/S. Chaplin Cantor Gideon Zelermyer accompanied by Stephen Glass
Havdalah ..........................................................................Z. Zilberts Cantor Gideon Zelermyer with The Shaar Hashomayim Synagogue Choir accompanied by Stephen Glass
The Flower Song (from Carmen) ......................................G. Bizet Joseph Kaiser accompanied by Michael McMahon
M'appari (from Martha)..............................................F. Von Flotow Joseph Kaiser accompanied by Michael McMahon
Tzadik Hashem ..............................................S. Secunda arr. S. Glass Cantor Gideon Zelermyer with The Shaar Hashomayim Synagogue Choir
E Lucevan le Stelle (from Tosca) ....................................G. Puccini Joseph Kaiser accompanied by by Michael McMahon
Exodus ..................................................................................E. Gold Cantor Gideon Zelermyer with The Shaar Hashomayim Synagogue Choir accompanied by Stephen Glass
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P R O G R A M Pitchu Li ..........................................................................S. Secunda arranged R. Goldstein/S. Glass Joseph Kaiser & Cantor Gideon Zelermyer with The Shaar Hahomayim Synagogue Choir
O Mimì, tu più non torni (from La Bohéme) ..............G. Puccini Joseph Kaiser & Cantor Gideon Zelermyer accompanied by Michael McMahon
Yours is My Heart Alone (from Land of Smiles)..............F. Lehár Joseph Kaiser accompanied by Michael McMahon
Rachel, Quand du Seigneur (from La Juive) ..................F. Halévy Cantor Gideon Zelermyer accompanied by Stephen Glass
Somewhere (from West Side Story) ............................L. Bernstein Cantor Gideon Zelermyer accompanied by Stephen Glass
Shalom, Shalom (from Milk and Honey) ......................J. Herman Joseph Kaiser & Cantor Gideon Zelermyer accompanied by Stephen Glass
All of tonight’s music was performed or recorded by Richard Tucker
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Biography
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ichard Tucker was born Reuven Shmuel (Sam) Ticker, and mother Fanya-Tsipa (Fanny) Ticker had already adopted the surname "Tucker" by the time their son entered first grade. His musical aptitude was discovered early, and was nurtured under the tutelage of Samuel Weisser at the Tifereth Israel synagogue in lower Manhattan. As a teenager, Tucker's interests alternated between athletics, at which he excelled during his high-school years and singing for weddings and bar mitzvahs as a cantorial student. Eventually, he progressed from a part-time cantor at Temple Emanuel in Passaic, New Jersey, to full-time cantorships at Temple Adath Israel in the Bronx and, in June 1943, at the large and prestigious Brooklyn Jewish Center. Until then, Tucker's income derived mainly from his weekly commissions as a salesman for the Reliable Silk Company in Manhattan's garment district.
sing, however, Johnson offered the tenor another audition and soon awarded him a contract. On January 25, 1945, Tucker made his debut as Enzo in La Gioconda. The debut, one of the most successful in the annals of the Met., foretold Tucker's 30-year career as the leading American tenor of the postwar era.
Tucker’s brother-in-law, Jan Peerce, already a star at the Metropolitan Opera, introduced Tucker to conductor and arranger Zavel Zilberts, who coached Tucker until he came to the attention of Paul Althouse, a notable tenor whose operatic career had begun during the last years of Enrico Caruso's long reign at the Met. Althouse became Tucker's only teacher. Tucker entered the Metropolitan Opera "Auditions of the Air" in 1941, but did not win. When Met. general manager Edward Johnson came unannounced to the Brooklyn Jewish Center to hear Tucker
In the ensuing years, Tucker's ample lyric voice evolved into a lirico-spinto voice of near-dramatic proportions. The distinctive timbre of his ringing voice, his unfailingly secure technique, impeccable diction, and native-sounding pronunciation were universally acclaimed in every role he undertook. During an era in which a profusion of legendary tenors including Jussi Björling, Giuseppe Di Stefano, and Mario del Monaco came and went during the years in which Sir Rudolf Bing led the Metropolitan, Tucker remained a dominant tenor and steadily took on new
Two years after his Metropolitan debut, Tucker was invited to reprise his success in La Gioconda at the cavernous amphitheater in Verona, Italy, singing opposite a then unknown GreekAmerican soprano named Maria Callas. Two years later, in 1949, Tucker's rapidly ascending career was confirmed when Arturo Toscanini, the most celebrated Italian conductor of the twentieth century, engaged Tucker to sing the role of Radames for the NBC simulcasts of a complete performance of Aida. This was the first full opera performance ever broadcast on national television.
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challenges. Tucker made a strong dramatic impression with veteran critics when he reconceived the role of Canio in Pagliacci under the direction of Franco Zeffirelli in January 1970. The tenor was nearly 60 years old at the time.
in the moment and maintained a boyish outlook on life. He also displayed a propensity for playing pranks on some of his fellow singers, often provoking a smile at some inappropriate moment in a performance.
Through his opera career, Tucker also officiated as a cantor on Rosh Hashanah, Yom Kippur, and other sacred events in the Jewish liturgical calendar. A devoted patriarch, Tucker oversaw the religious development of his three sons: Barry, David and Henry.
Tucker was touring with Robert Merrill in a national series of joint concerts when, on January 8, 1975, he died of a heart attack while resting before an evening performance in Kalamazoo, Michigan. He is the only person whose funeral has been held on the stage of the Metropolitan Opera. In tribute to his legacy at the Met., the city of New York designated the park adjacent to Lincoln Center as Richard Tucker Square.
Tucker had a long-running contract with Columbia Records, and eventually recorded for RCA Victor as well. But measured against the sheer length of his career, Tucker's commercial recordings are proportionately sparse and inadequately convey the power and roundness of his voice. Many of his commercial recordings, as well as private recordings of his concerts and broadcast performances, have been digitally remastered and are available in CD and online downloadable formats. A number of his national television appearances on “The Voice of Firestone,” “The Bell Telephone Hour” and “The Ed Sullivan Show” have been reissued in DVD format..
Shortly after his death, the Richard Tucker Music Foundation was established by his widow, sons, colleagues, and friends “to perpetuate the memory of America's greatest tenor through projects in aid of gifted young singers.”
Although Tucker's well-crafted public image was that of a competitive, selfconfident performer, his offstage demeanour was that of an inherently private but unfailingly considerate man, especially where fans and colleagues were concerned. Never prone to looking back upon his career, Tucker always lived
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reached a high level of artistic accomplishment and who, in the opinion of a conferral panel, is on the threshold of a major international career.
Richard Tucker Foundation
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he Richard Tucker Music Foundation, founded in 1975, is a non-profit cultural organization dedicated to perpetuating the artistic legacy of the great American tenor through the support and advancement of the careers of talented American opera singers by bringing opera into the community. The Foundation seeks to heighten appreciation of opera by offering free performances in the New York Metropolitan area and by supporting music education enrichment programs.
Programs of the Foundation, including master classes and concerts in a variety of community settings, provide performance opportunities for award winners and enrich the cultural life of the communities in which they take place. These concerts are frequently broadcast on the radio, offering an even wider public a chance to enjoy operatic and other types of vocal music. The work of the Tucker Music Foundation is guided by a Board of Directors whose members include leaders in business, education and the arts. The Board, which is committed to strengthening the cultural life of New York City and the metropolitan region, provides intellectual, financial and artistic counsel to the Foundation's management from a variety of perspectives and generates a network of support for the organization from the associations and constituencies its members represent.
Through awards, grants for study, performance opportunities and other career-enhancing activities, the Foundation provides professional development for singers at several levels of career-readiness: • The Sara Tucker Study Grant provides grants to singers, selected through a vocal competition, who are recently out of university or conservatory and considered to be at the beginning of promising careers . • The Richard Tucker Career Grant provides grants to singers, selected through a vocal competition, who have begun professional careers and who have already performed roles with opera companies nationally or internationally.
In the past three decades, the reach of The Richard Tucker Music Foundation has become substantial: our winners and grantees sing all over the world, our programs finance the growth of young artists and the creation of new music, and our expanding educational programs bring help and hope to another generation through the gift of music.
• The Richard Tucker Award is conferred annually upon a single artist who has
This is Richard Tucker’s proud legacy.
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Joseph Kaiser
Cantor Gideon Y. Zelermyer
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tarring as Tamino in the Kenneth Branagh film adaptation of The Magic Flute, conducted by James Conlon and released internationally in 2007, Joseph Kaiser is recognized by audiences for his beauty of tone, for the intelligence of his programming, and for an innate sense of style and elegance. He is developing rapidly into one of the most gifted artists of his generation and enjoys success in opera, oratorio, and concert throughout North America and Europe. The present season sees Joseph Kaiser making three role debuts: the title role of Faust at the Lyric Opera of Chicago conducted by Sir Andrew Davis; the title role of Messager’s Fortunio at the Opéra Comique under the baton of Louis Langrée; and the role of Admete in Gluck’s Alceste at the Aix-en-Provence Festival, also with Mr. Langrée. Joseph sings the role of Narraboth in a concert performance of Salome with Valery Gergiev and the Verbier Festival Orchestra, Beethoven’s Symphony No. 9 with Ivor Bolton and the Wiener Symphoniker at Vienna’s Konzerthaus, and Stravinsky’s Pulcinella with Roberto Abbado and the Saint Paul Chamber Orchestra. A committed recitalist, Joseph returns to the New York Festival of Song in a collaboration with Steven Blier exploring the songs of Korngold, Medtner, Strauss, and Szymanowski.
hazan Gideon Yechiel Zelermyer is a graduate of the Tel Aviv Cantorial Institute. He studied intensively with Cantor Naftali Herstik and Raymond Goldstein of the Jerusalem Great Synagogue, where he has officiated on numerous occasions at Shabbat and Festival services. Chazan Zelermyer has appeared as a frequent soloist with the Jerusalem Great Synagogue Choir. In May 2000, he made his operatic debut with the Jerusalem Rubin Academy of Music. He has performed at the Jerusalem Theatre with the Jerusalem Symphony Orchestra and at Manchester’s Bridgewater Hall with the Manchester Camerata Orchestra. Gideon also appeared in the Yossele Rosenblatt Memorial Concert at the Mann Auditorium in Tel Aviv in 2000 and was a participant in the 2001 Festival of Jewish Music at Sea. He has appeared on a number of occasions with Boris Brott and the McGill Chamber Orchestra and in 2003, was invited to sing at the ceremony dedicating the Montreal Holocaust Memorial Centre, in the presence of many of Canada’s leading political figures. Also in 2003, Gideon made two appearances in London, England, at the invitation of the Jewish Music Institute. In 2004, Gideon became the Chazan of Congregation Shaar Hashomayim and has earned himself an enviable reputation as an artist with a glorious lyric tenor voice, impeccable musical taste and a cantorial style that blends the best of the traditional with the modern.
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Michael McMahon
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ianist and vocal coach Michael McMahon studied at McGill University with Charles Reiner. With the aid of the Canada Council for the Arts, he completed his studies in Vienna at the Franz Schubert Institute and the Hochschule für Musik und darstellende Kunst, and in Salzburg at the International Summer Academy held at the Mozarteum. During this time, he studied with such legendary artists as Erik Werba, Hans Hotter, Elly Ameling, Jörg Demus and Kim Borg. Michael McMahon maintains an active performing schedule. He has appeared throughout Canada, Europe and the USA with singers such as Catherine Robbin, Karina Gauvin, Lyne Fortin, Dominique Labelle, Wendy Nielsen, Annamaria Popescu, Maureen Forrester, Richard Margison, Nathan Berg and Kevin McMillan, earning him the reputation of being a "luxury partner." He has been a guest artist with such organizations as Les Violons du Roy, L'Opéra de Montréal, Les Grands Ballet Canadiens, the Ladies Morning Musical Club, Société Pro Musica, CBC McGill, the Women's Musical Club (Toronto), the Wexford Festival, the André Turp Society and Debut Atlantic. At McGill, where he is currently an associate professor, Michael McMahon teaches in both the Voice and Piano areas. He has led the very popular Song Interpretation class with baritone Jan Simons since 1984. He also teaches English and German diction for singers
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and is a vocal repertoire coach. In addition to his duties as Professor at the Faculty of Music, Michael McMahon has had a long association with Atelier lyrique de L'Opéra de Montréal and the Banff Centre for the Arts, where he has worked regularly as a vocal coach. Many of the singers and pianists that he has coached are working in major opera houses around the world. He is often asked to be an adjudicator for competitions and has also given master classes for singers and pianists across the country. He has made numerous broadcast recordings for the English and French networks of the CBC, as well as for the BBC, RBTF, Radio Suisse Romande and Radio France. With four Juno nominations to his credit, his recordings for the Marquis, CBC Records and Analekta labels have met with critical acclaim.
Kelly Rice
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ince joining the CBC in 1990, Kelly Rice has hosted and produced concerts for a number of CBC programs, including Sunday Afternoon in Concert, Canada Live, and Choral Concert. He also hosts pre-concert lectures for l'Orchestre symphonique de Montréal and teaches music history at McGill University. As well, he is a columnist on CBC Radio One's Homerun, heard weekdays at 3:00 pm. Born in Sydney, Nova Scotia, Kelly studied at Dalhousie University in Halifax and McGill University. After undergraduate studies in Baroque music, he completed his Master's degree in Musicology at McGill with a thesis on nineteenth-century choral music in Montreal.
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Stephen Glass
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tephen Glass has been the Director of Music at Congregation Shaar Hashomayim since 1990. He came to Canada from the United Kingdom after completing his studies at the University of East Anglia, the Guildhall School of Music & Drama in London and at the London College of Music.
Stephen returns to the UK on a regular basis, working with the Jewish Music Institute, conducting events with massed children's choirs, cantorial concerts and directing the annual JMI European Cantors' Conventions. Stephen has pioneered a very distinctive approach to orthodox synagogue music, in terms of the technique of choral arranging for malechoir, the broad harmonic palette he uses and the style of choral singing which he cultivates. In addition, he is widely respected as a composer with a strong melodic and harmonic instinct and as an accompanist and arranger par excellence.
Stephen has appeared in concert or recorded with all the great names in the cantorial world and has been a regular staff member at the North American Jewish Choral Festival. He has written music for the National Film Board of Canada, and in 1998 composed and/or arranged all the music for Toronto’s "Night of a Lifetime” - an extravaganza in celebration of Israel’s 50th Anniversary, broadcast live on CBC. Other career milestones include Congregation Shaar Hashomayim’s 150th (1995) and 160th (2006) Anniversary Gala Concerts as well as the Shaar's Israel @ 50 and Israel @ 60 with symphony orchestra, adult and children's choruses, soloists, narrator and multi-media presentation.
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THE SHAAR HASHOMAYIM SYNAGOGUE CHOIR The Shaar Hashomayim Synagogue Choir is a highly regarded all-male ensemble. It sings every Shabbat and at Festival and High Holy Day Services throughout the year. The choir is often asked to sing at wedding ceremonies as well as Cantorial Concerts and communal events. Most recently, they took part in the Annual Yom Hashoah Commemoration. All the vocal arrangements that the choir sings are crafted specifically for the malevoice group. The method of arrangement and broad harmonic palette, combined with the style of singing, produces a very distinctive and blended sound which has been widely praised.
Dr. Edward Aronson Damon Hankoff Eran Houja Ryan Kirschner Ted Lazarus Jason Lipstein Conor O'Neil David Packer Lorne Shapiro Robert Shuster Jake Smith
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SPECIAL THANKS TO: Joan & Barry Tucker Peter H. Carwell and the Staff of the Richard Tucker Music Foundation Robert Tuggle, Jeff McMillan & John Pennino at the Metropolitan Opera Archives Bill Ecker, Harmonie Autographs & Music Inc. Ted Lazarus Father John Walsh Penni Kolb, Executive Director and her staff: Carol Abramson, Sheri Berkovic, Orit Bueno, Michael Carreiro, Christina Chase, Brenda Epstein, Eran Houja, Pearl Robin, Arlene Scher. José Dos Santos, Tanya Mendes and their staff
ACKNOWLEDGEMENTS: Sound….Roger Jay Lighting & AudioVisual….Kostar Audiovisuel Graphic Design….Paul Rosenbaum • PRETDESIGN
Script Supervisor....Cantor Gideon Y. Zelermyer Producer and Director.... Stephen Glass
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