[Congressional Record (Bound Edition), Volume 146 (2000), Part 7]
[House]
[Pages 9566-9569]
[From the U.S. 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.
  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

[[Page 9567]]

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. 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.
  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.

[[Page 9568]]

  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. Madam 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.
  Madam 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. Madam 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 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. Madam 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

[[Page 9569]]

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.

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