A Quote by Howard Jacobson

What isn't for everybody shouldn't be for anybody: the world's opera houses are the reasons we have cardboard cities. — © Howard Jacobson
What isn't for everybody shouldn't be for anybody: the world's opera houses are the reasons we have cardboard cities.
The number of opera houses around the world and the high attendance rates show that opera an art form that is more popular than ever.
I perform in opera houses in the centres of big cities. We live in 20 acres of forest. You need that space to recover and renew.
Americans, they have an incredible operatic tradition: the Metropolitan Opera House is - if not the most prestigious - one of the most prestigious opera houses in the world for over 100 years.
Opera needs a major makeover; the large opera houses are too in thrall to their conservative patrons.
Man doesn't change. He keeps his habits. Instinctively, all those people found the same corner for their kitchen. To build a city, don't men choose the same sites? Under cities you always find other cities; other churches under churches, and other houses under houses.
I was an acting opera singer, and that's one of the reasons I left opera.
I'm friends with everybody, I love everybody. I trust everybody because they don't give me reasons not to you know what I'm saying? So, if everybody just trusted everybody and if everybody just loved everybody then we'd live in a perfect world... you know what I'm saying? I mean, why not?
Fifty percent of the world's population lives in cities. In a couple of decades, 70 percent of the world's population will be living in cities. Cities are where the problem is. Cities are where the solution is, where creativity exists to address the challenges and where they have most impact. This is why, in 2005, the C40 was founded, an organization of cities that address climate change. It started with 18 cities; now it's 91. Cities simply are the key to saving the planet.
Everybody's talking about people breaking into houses but there are more people in the world who want to break out of houses.
Musicians ought to reclaim some of the power in the houses of production. The opera houses are run either by managers or by stage directors, never by musicians.
This is a story about four people named Everybody, Somebody, Anybody and Nobody. There was an important job to do and Everybody was asked to do it. Everybody was sure Somebody would do it. Anybody could have done it, but Nobody did it. Somebody got angry because it was Everybody’s job. Everybody thought Anybody would do it, but Nobody realized that Everybody wouldn’t do it. It ended up that Everybody blamed Somebody when Nobody did what Anybody could have done.
Cardboard is another material that's ubiquitous and everybody hates, yet when I made furniture with it everybody loved it.
We tend to forget that in those days before the Internet and HBO and Imax and 3-D cinema, opera was the thing. Opera and theatre. If you were a man of the world and you mingled among the happy few, you would be at the opera.
Not everybody here is rich. Not everybody here is independently wealthy. Not everybody here is free from any kind of economic concern. We run the gamut here, too. It's the opportunity to escape that that exists here, for very specific reasons. But it's not because the US is where it is. It's not because our DNA is different than anybody else's. It's because of the way we have structured our affairs, our government.
I've had an extraordinary life as a dancer. You tour the world, you see all the great capitals of the world, the beautiful old opera houses all over Europe - you go everywhere. As a teenager, I would always say, 'I can't believe this is happening to little me,' because it was always a dream to dance.
I want to get out of the major opera houses.
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