Jessye Norman

Operatic soprano and recitalist

Recorded said elsewhere, not written here
I went to the opera practically every night. I went to something practically every night, just learning and seeing and absorbing, and what I noticed is that there were singers that were only sort of slightly older than I whose voices sounded as though they were many decades older than that, and didn’t sound pretty, and I needed to understand what was happening. I mean there were singers that were 28 or 30 years old or something, and I would speak to them afterwards to say, “Was your voice tired tonight? Tell me what’s happening,” because I didn’t understand it. Their voices should have sounded fresh and blooming and wonderful, but instead they sounded different, and it was because they were singing a different opera every night, and singing whatever was offered, and I didn’t understand and needed to understand — because no one was telling me these things — why they just didn’t say no. Why didn’t they just say, “Oh no, I don’t think I should.”

Academy of Achievement (achievement.org) source ↗

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David Hockney Painter, draughtsman, printmaker and photographer
I thought I was a hedonist at the time, but when I look back I was always working. I am always working. I work every day. I never give parties; I never gave them.
Recorded The Guardian, Interview at his London home, The Guardian, 9 May 2015 source ↗
Hiroshi Mikitani Founder, chairman and chief executive of Rakuten
Of course, my decision faced plenty of criticism. One of my fellow Japanese CEOs went so far as to call the plan “stupid” – notable, in a country where executives do not generally criticize one another in the press. Clearly, I would have to fight an uphill battle for cultural acceptance. But I was not deterred. A seismic shift demands that we adapt to a new landscape, and a seismic economic shift is exactly what Japan has undergone in recent decades, driven by the forces of globalization and digitization. The only way to compete in this interconnected internet age is to speak the language of the market – and that language is English.
Recorded Mikitani's own essay, originally published on LinkedIn, Inc. (republishing Mikitani's own LinkedIn essay) source ↗
Yves Bonnefoy Poet, essayist and translator
I started reading poetry in primary school—Victor Hugo, the romantics, and the Parnassians—they were part of the curriculum. In my grandfather’s library there were some anthologies of nineteenth-century poetry. Alfred de Vigny impressed me most; indeed I won a competition by reciting Vigny’s “Moses” with an enthusiasm that touched the examiner. In fact this poem and “La Maison du Berger” are among the most beautiful poems in the French language, unfairly neglected today.
Recorded Shusha Guppy, The Paris Review, Issue 131, Summer 1994, 1994 source ↗
Mark Zuckerberg Co-founder, chairman and chief executive of Meta Platforms
There is something wrong with our system when I can leave here and make billions of dollars in 10 years while millions of students can’t afford to pay off their loans, let alone start a business. Look, I know a lot of entrepreneurs, and I don’t know a single person who gave up on starting a business because they might not make enough money. But I know lots of people who haven’t pursued dreams because they didn’t have a cushion to fall back on if they failed. We all know we don’t succeed just by having a good idea or working hard. We succeed by being lucky too. If I had to support my family growing up instead of having time to code, if I didn’t know I’d be fine if Facebook didn’t work out, I wouldn’t be standing here today. If we’re honest, we all know how much luck we’ve had. Every generation expands its definition of equality. Previous generations fought for the vote and civil rights. They had the New Deal and Great Society. Now it’s our time to define a new social contract for our generation. We should have a society that measures progress not just by economic metrics like GDP, but by how many of us have a role we find meaningful.
Recorded Harvard University 366th Commencement, Harvard Gazette, 25 May 2017 source ↗

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Question What made you stop something you were known for, and how did you know it was time? Time & hindsight
As a very young singer, I was invited to the opera house in Berlin by the then-director of the opera house, Egon Seefehlner, and I had one opera to my name that I knew. He felt that there was a lot that I could learn there, which was very true, and I was so lucky to be able to have this opportunity. The thing that was happening is that I kept being offered operas that I knew that I wasn’t ready to sing, just from an experience point of view, as well as being 24 years old. So I was always asked to sing things that I thought, “Well no, I really don’t think I should sing that now. I need to sing that maybe in five years, or maybe in 10 years, but not right now. Couldn’t I please sing something else?” And that became a difficulty for me. And after being at the opera house for three years, and singing Elsa and Elisabeth — the Wagner roles that are not sort of the heavy Wagner roles — and then Mozart operas that suited my voice at the time, I was continually invited to sing things that I just felt I shouldn’t. So I took it upon myself to go to speak with the artistic director to say that I thought I should leave the opera house, and come back in some years when my maturity sort of chronologically would have caught up with the invitations that I was being offered. Of course, considering that he’d taken me into the opera house when I knew one role, he wasn’t all that happy. I thought he’d say, “Oh, what a smart girl. Oh yes, absolutely. That’s what we’ll do.” No, no. He was absolutely furious.
Recorded Academy of Achievement (achievement.org) source ↗

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