[Congressional Record Volume 146, Number 68 (Tuesday, June 6, 2000)]
[House]
[Pages H3872-H3875]
From the Congressional Record Online through the Government Publishing Office [www.gpo.gov]
DESIGNATING WASHINGTON OPERA IN WASHINGTON, D.C., AS NATIONAL OPERA
Mr. GOODLING. Madam Speaker, I move to suspend the rules and pass the
bill (H.R. 4542) to designate the Washington Opera in Washington, D.C.,
as the National Opera.
The Clerk read as follows:
H.R. 4542
Be it enacted by the Senate and House of Representatives of
the United States of America in Congress assembled,
SECTION 1. DESIGNATION.
The Washington Opera, organized under the laws of the
District of Columbia, is designated as the ``National
Opera''.
SEC. 2. REFERENCES.
Any reference in a law, map, regulation, document, paper or
other record of the United States to the Washington Opera
referred to in section 1 shall be deemed to be a reference to
the ``National Opera''.
The SPEAKER pro tempore. Pursuant to the rule, the gentleman from
Pennsylvania (Mr. Goodling) and the gentleman from Pennsylvania (Mr.
Fattah) each will control 20 minutes.
The Chair recognizes the gentleman from Pennsylvania (Mr. Goodling).
General Leave
Mr. GOODLING. Madam Speaker, I ask unanimous consent that all Members
may have 5 legislative days within which to revise and extend their
remarks on H.R. 4542.
The SPEAKER pro tempore. Is there objection to the request of the
gentleman from Pennsylvania?
There was no objection.
Mr. GOODLING. Madam Speaker, I yield myself such time as I may
consume.
Madam Speaker, I rise in support of H.R. 4542, to designate the
Washington Opera in Washington, D.C., as the National Opera.
The beginnings of the Washington Opera were unusual, as it was
founded by a music critic, Day Thorpe, of the now defunct Washington
Star, along with a few others who decided that the Nation's capital
should have an operatic enterprise of its own.
In the early years, the Washington Opera was limited by financial and
practical constraints to no more than one or two productions per year.
Since that time, the Washington Opera has grown and prospered. Today,
it is the resident opera company of the Kennedy Center, due primarily
to the artistic excellence of the ensemble.
In addition to performances, the Washington Opera has created several
education and community programs that serve a broad and diverse
population. These outreach programs are dedicated to enhancing the
lives and learning of the children and adults of the greater Washington
region, developing future audiences, and making the experience of opera
available to those who otherwise have limited access to this art form.
Through these programs, the Washington Opera has made extensive
outreach to the Washington, D.C. area public schools and to the
community at large. These programs have reached more than 150,000
individuals and have been driven by the idea that ``learning by doing''
is a highly effective way to spark young children's interest in the
arts.
[[Page H3873]]
The number and scope of programming has grown to 22 programs that
provide performance experiences, curriculum enhancement activities, in-
school artist and docent visits, professional development opportunities
for teachers and young artists, interactive family-oriented
presentations, and more.
Under the stewardship of Artistic Director Placido Domingo, the
Washington Opera has achieved the stature of a world-class company and
plays to standing-room-only audiences at the Kennedy Center Opera House
and Eisenhower Theater.
I would like to mention a personal note about this Artistic Director
Placido Domingo. When my daughter, at 17, was playing the professional
tour, I did not have the money to send a coach or anybody in the
family, so I gave her a lot of advice about not paying too much
attention to anybody, particularly men, as she moved from the Italian
Open to the Swiss Open to the German Open and then to the French Open.
And when she was leaving the French Open to go to the Paris Open, she
apparently was standing there in tears and this gentleman asked her
what was her problem? And she said, well, my luggage went the other way
and I have to play the first round of the French Open as soon as I get
to Paris.
The gentleman said, well, the first thing we have to do is put you in
first class because you cannot be cramped up back there and then go
play tennis.
Well, if the father had known that, he really would have been upset
about some man moving her to first class.
When she got to Paris, the gentleman gave her a hundred dollars. And
she said, Well, I cannot take that. And he said, well, how will you
play? You only have your racket and your sneakers. You will have to buy
clothing.
When she came back and we were sitting there as a family watching
television, Placido Domingo and Johnny Denver were doing a couple of
the duets that they have done, and she said, Dad, that is the man that
put me in first class and that is the man who gave me the $100. And it
was Placido Domingo. And I understand that is typical of him.
The Washington Opera has earned its position of leadership in the
musical world without the government support typical in most world
capitals. The company has been a leader through its commitment to
sustain new American operas by presenting them in crucial second
productions, giving these new works life beyond the short span of their
premieres. It leads by championing the lesser known works of
significant musical work rarely presented on today's opera stages.
It has been hailed for its work with operas on the epic scale. As the
British magazine Opera Now recently stated, ``The Washington Opera is
carving out a new area of expertise . . . staging grand spectacles to
exacting standards with precision and power not often seen even at the
world's top houses.'' The company is also renowned for the number and
quality of its new productions, its discovery and nurturing of
important young talent, and the international collaboration system it
has pioneered with leading foreign companies.
Since 1980, the company has grown from a total of 16 yearly
performances of four operas to 80 yearly performances of eight operas,
while the budget has increased from $2 million to more than $25 million
per year. The company has averaged 98 percent attendance over the last
fourteen seasons--a remarkable sales record. It now earns approximately
65 percent of its total budget through ticket sales, raising the
remaining 35 percent through contributions from the individuals,
corporations, and foundations. A sign of fiscal strength, this ratio of
earned to contributed income is the highest of any opera company in the
country.
The Washington Opera has requested this legislation designating it as
the ``National Opera.'' There are precedents for granting private or
quasi-private entities a ``national'' designation. For example, the
National Aquarium in Baltimore and the National Aviary in Pittsburgh
both received their ``national'' designation through acts of Congress.
Such a designation does not bring with it federal funding or a federal
subsidy. Rather, it grants the entity national prominence, which may
increase ticket sales and improve fundraising prospects.
I urge my colleagues to support this legislation and to vote ``yes''
on final passage.
Madam Speaker, I reserve the balance of my time.
Mr. FATTAH. Madam Speaker, I yield myself such time as I may consume.
Madam Speaker, it is an honor to be able to rise in support of the
legislation of my colleague. H.R. 4542, which would change the name of
the Washington Opera to the National Opera, is a piece of legislation
that our side supports wholeheartedly.
{time} 1215
This opera was born in 1956, which was the year I was born. It has
moved from two performances to now over 80 performances a year with an
attendance rate of 98 percent or better, and I want to compliment my
chairman for offering this legislation. I think it is an appropriate
designation to change the name.
It is a world-renowned opera; and to have the designation of the
National Opera, I think, is most appropriate.
Madam Speaker, I reserve the balance of my time.
Mr. GOODLING. Madam Speaker, I yield such time as he may consume to
the gentleman from Northern Virginia (Mr. Davis), an opera buff.
(Mr. DAVIS of Virginia asked and was given permission to revise and
extend his remarks.)
Mr. DAVIS of Virginia. Madam Speaker, I rise today to support H.R.
4542, the bill to designate the Washington Opera as the National Opera.
Since its founding in 1956, the Opera has been providing enrichment and
arts education to the Washington Metropolitan area.
From its humble beginnings under the stewardship of music critic Day
Thorpe, when a lack of funds limited them to two performances a year,
the Opera has consistently grown both in stature and in size. In 1980,
the Washington Opera had a total of 16 performances of four operas with
an operating budget of $2 million. Throughout the 1990s, the Opera has
truly emerged as a world class institution and has grown to 80
performances of eight operas with an annual budget of more than $25
million.
The great success the company has enjoyed is a credit both to its
management and the support it has received from the Washington
metropolitan community. Over the last 14 seasons, the company has
averaged a remarkable 98 percent attendance, with 65 percent of its
revenue coming from ticket sales. The remaining 35 percent of the
budget is provided by individual and corporate donations. The ratio of
65 earned to 35 contributed is evidence of the company's fiscal
strength and is the highest in the Nation.
The Washington Opera has earned its position of leadership in the
musical world without the crucial government support that is typical in
most world capitals, in a city without the strong business base that
helps fund many U.S. opera companies. The company has been a leader
through its commitment to sustain new American operas by presenting
them in crucial second productions, giving these new works life beyond
the short span of their premiers. It leads by championing lesser-known
works of significant musical worth rarely presented on today's opera
stages. It has been hailed for its work with operas on the epic scale.
As the British magazine Opera now recently stated, ``The Washington
Opera is carving out a new area of expertise, staging grand spectacles
to exacting standards with precision and power not often seen at the
world's top houses.''
The company is also renowned for the number and quality of its
productions, its discovery and nurturing of important young talent and
the international collaboration system it has pioneered with leading
foreign companies.
One of the greatest contributions to the D.C. metro area have come
from the company's educational outreach program. Reaching out beyond
the bounds of the opera community, the Washington Opera has made a
concerted effort to bring the arts to students around the region. As
budgets for arts education have continually shrunk, it is more
important than ever that private institutions have what limited
government support can be provided to reach our school-aged children.
It is with that goal in mind that I strongly support the passage of
H.R. 4542 and ask my colleagues to do the same. I want to thank the
gentleman from Pennsylvania (Mr. Goodling) for his leadership on this
issue and shepherding this bill to the House floor.
[[Page H3874]]
Mr. FATTAH. Madam Speaker, I yield such time as she may consume to
the gentlewoman from the District of Columbia (Ms. Norton).
Ms. NORTON. Madam Speaker, I thank the gentleman from Pennsylvania
(Mr. Fattah) for yielding me the time. Madam Speaker, may I say that
the chairman of the committee introduced the last speaker as an opera
buff; the gentleman is better known in this House as a baseball buff,
but we are pleased to rank the gentleman to the rank of opera lovers.
In any case, Madam Speaker, great capitals normally have great
cultural institutions. I regret to say that for a very long time, the
Nation's capital did not have great cultural institutions. As a fourth
generation Washingtonian, I must say that growing up in the Nation's
capital was like growing up in a cultural desert. The only great
company was the National Symphony Orchestra, and I am pleased that now
the Congress would name the Washington Opera the National Opera.
I think this is most appropriate, particularly when we consider that
this is not a Nation that subsidizes the arts very greatly; and the
very least, it seems to me that we can do is recognize the arts in this
way.
Twenty-five million visitors come to the Nation's capital every year,
many of them the constituents of Members of the House and Senate. As
the Washington Opera becomes the National Opera, I believe that the
national Opera will set an example for the country and will welcome
millions who would otherwise not be inclined to attend the opera.
Throughout the world, the reputation of this company, particularly
since Placido Domingo became the artistic director, is generally
regarded as a world-class company. It plays to standing-room-only
audiences. It raises its own money. Now it asks very little of us. It
asks that we give it a name that will help it raise more of its own
money. I would like to bring to the attention of Members something of
what the Washington Opera Company does in its immediate area because it
has very energetic education and community programs that serve public,
private, and home-schooled students throughout the region, 31 percent
Anglo, 27 percent African American, 33 percent Latino, 8 percent Asian,
roughly reflecting the population of the region. 70 percent of those
served by these education and community programs are between the ages
of 5 and 18. Of the remaining 30 percent who are adults, 40 percent are
senior citizens.
Here is an opera company which has reached to every age group, every
ethnic group, and every section of the region. Now as the National
Opera Company, it will welcome people to come from all over the
country. Its education and community programs target adults and
students throughout the grades K through 12 and particularly
underserved populations. 40 percent are from the District, 35 percent
are from Maryland, 25 percent are from Virginia.
It is particularly appropriate that the chairman would rise to
support this bill, because this is in many ways a quintessential
educational enterprise. We now know increasingly as we learn more about
the brain and its functions that music can be important in the
intellectual as well as the social development of students. When the
Washington Opera Company comes to the Congress of the United States not
with its hands out for money but to ask that it be given a name that
will help it raise money, I strongly urge that the Congress give it the
public recognition that will help the Washington Opera Company grow as
a national opera company and will help it bring opera to increasing
millions of citizens of the United States.
Mr. FATTAH. Madam Speaker, I yield myself such time as I may consume.
I would like to just reiterate my support for this legislation. This
opera raises over $25 million annually in private support, but I do
believe that the new designation as provided in this legislation
hopefully will provide additional impetus for those who want to support
the continuation of a great cultural institution. I want to compliment,
again, the gentleman from Pennsylvania and also the gentlewoman from
the District of Columbia for this legislation.
Mr. HOYER. Mr. Speaker, I rise in support of H.R. 4542, a bill
designating the Washington Opera in Washington, DC, as the National
Opera. This opera company is known for the number and quality of new
productions, discovery and nurturing of important young talent, and an
international collaboration system with leading foreign companies.
The Washington Opera has achieved the stature of a world class
company and plays to standing-room only audiences at the Kennedy Center
Opera House and Eisenhower Theater. Like so many other institutions in
Washington, the opera attracts, entertains, and educates people from
all over the world.
The company has averaged 98% attendance over the last fourteen
season. It now earns approximately 65% of its total budget through
ticket sales, raising the remaining 35% through contributions from
individuals, corporations, and foundations.
A sign of fiscal strength, this ratio of earned to contributed income
is the highest of any opera company in the country. Beyond the value of
music itself, increasing evidence clarifies the role of music in the
intellectual and social development of our community.
The opera allows people to cross language and cultural barriers,
increase understanding, and build tolerance in a multi-cultural
setting.
The Washington Opera remains true to its mission of presenting the
highest quality opera in the Nation's Capital, broadening public
understanding and awareness of opera, and maintaining opera as a living
art form.
Mr. Speaker, for over 40 years this opera company has been a beacon
of light not only for the Washington, DC community, but also for the
entire Nation. People from all over the United States and the world
realize this opera company is a reflection of our Nation's commitment
to the arts.
As a cosponsor of H.R. 4542, I stand in support of this bill to
designate the Washington Opera as the National Opera and urge my
colleagues to support this legislation.
Mr. DICKS. Mr. Speaker, I rise in support of H.R. 4542, a bill to
designate the Washington Opera in Washington, DC, as the National
Opera. The Washington Opera has an impressive history that has earned
its position as one of opera's premier venues.
The Washington Opera continued to grow and flourish. In 1980, the
company has grown from a total of 16 performances and 4 operas to 80
performances and 8 operas, while the budget has increased from $2
million to more than $25 million. In 1980, the opera did not own a
single opera set; by the spring of 2000 the company had originated and
built 61 new productions, becoming one of the most prolific producing
companies in the United States.
The Washington Opera prides itself by providing world-class
productions for its audiences. The Washington Opera became the first
American Opera Company to produce a repertory season in two separate
theaters. Giving performances in the 2,200 seat Opera House and the
more intimate 1,100 seat Eisenhower theaters allow the company to
perform in settings that reflect each opera's proper acoustical
ambiance.
Along with providing quality entertainment, The Washington Opera
contributes to the education and diversity of the community. The
Education and Community Programs serve a diverse population of public,
private and the home school students that are 31% Anglo, 27% African-
American, 33% Latino, and 8% Asian. Roughly 70% of those served by
Washington Opera programs are students between the ages 5 to 18 of
various needs and abilities. Adults constitute the remaining 30%, of
which 40% are senior citizens.
Among other programs, The Washington Opera has developed teaching
methods that provide educators with tools to engage students in the
learning process. At a young age, students learn about the value of the
arts. There are 22 programs each providing performance experiences,
curricular enhancement activities and professional development
opportunities for both teachers and young artists. These programs
foster enthusiasm and help enrich our youths' educational experience.
Under the jurisdiction of Artistic Director Placido Domingo, The
Washington Opera's reputation continues to increase. The Washington
Opera plays to standing-room-only audiences at the Kennedy Center Opera
House and Eisenhower Theater. The Washington Opera has earned its
position of leadership in the musical world without the critical
governmental support typically offered to most world capitals, in a
city without the strong business base that helps fund many U.S.. opera
companies.
The Washington Opera has requested this legislation to designate The
Washington Opera as the ``National Opera.'' There are precedents for
granting private entities a ``national'' designation. For example, the
National Aquarium in Baltimore and the National Aviary in Pittsburgh
both received their ``national'' designation through acts of Congress.
Such a designation does not bring with it federal funding or a federal
subsidy.
This change will grant the group further prominence, which, in turn,
may expand ticket
[[Page H3875]]
sales, improve fundraising capabilities and most importantly, broaden
the opera's community programs in an effort to influence a greater
breadth of individuals.
Mrs. MORELLA. Mr. Speaker, I rise in support of H.R. 4542, a bill to
designate the Washington Opera in Washington, D.C., as the National
Opera.
When first approached about the redesignation by Artistic Director
Placido Domingo, I thought of the Bard's famous line, ``What's in a
name? That which we call a rose by any other name would smell as
sweet.''
However, this ``national'' designation will aid the Washington Opera
in furthering their position of leadership in the musical world.
Founded in 1956, the Washington Opera has achieved the stature of a
world class company and plays to standing room only audiences at the
Kennedy Center Opera House and the Eisenhower Theater.
In the spring of 2000, the company had originated 61 new productions,
becoming one of the most prolific producing companies in the United
States. In addition, the company has averaged 98 percent attendance
over the last fourteen seasons.
The Washington Opera has always recognized that their service to the
nation does not end with each production. Instead, Washington Opera's
Education and Community Programs department dedicates itself to
enhancing the lives and learning of children and adults by making the
experience of opera available to those who otherwise have limited
access to the art form. The Washington Opera has made extensive
outreach efforts to area public schools and to the greater Washington
community at large. Through their OperAccess program, they have
actively involved members of our community who are visually,
physically, or audibly impaired. By devoting themselves to broadening
the public's understanding and awareness of opera, the company has
served as the leader in maintaining opera as a living art form in
America.
The National Opera designation will serve to facilitate the company's
fundraising efforts and ticket sales, as well as oblige the company,
even more than in the past, to become the cradle for American opera.
I urge my colleagues to please support H.R. 4542 and to designate the
Washington Opera as the National Opera.
Mr. FATTAH. Madam Speaker, I yield back the balance of my time.
Mr. GOODLING. Madam Speaker, I yield back the balance of my time.
The SPEAKER pro tempore (Mrs. Biggert). The question is on the motion
offered by the gentleman from Pennsylvania (Mr. Goodling) that the
House suspend the rules and pass the bill, H.R. 4542.
The question was taken; and (two-thirds having voted in favor
thereof) the rules were suspended and the bill was passed.
A motion to reconsider was laid on the table.
____________________