Website continues to April 2016
To mark the Finale of the Peter Moores Foundation and 50 years of Philanthropy.
Peter Moores Foundation concludes 50 years of charitable activities with a Swansong Project involving 8 of the UK opera companies with which the Foundation has been most closely associated.
The Sunday Times

'Almost four years ago, I was bowled over by the voice of South African soprano Pumeza Matshikiza as the female lead in Wexford Festival's production of Smetana's romcom charmer The Kiss. Vendulka's lullaby is the best-known number from that unjustly neglected opera... Matshikiza sang it so gorgeously that it's a pity that Decca has omitted it from her debut album, Pumeza - Voice of Hope.

The cover pic shows Matshikiza channelling the look of one of the greatest black singers of all time, Leontyne Price. It's obvious Decca can hear similarities between Price's creamy, sultry yet smoky tone and Matshikiza's no less lush and sexy sound.
Two weeks ago I had an opportunity to hear her live for the first time in four years, starring as the heroine of Tom Morris's semi-demi-staging of Purcell's Dido and Aeneas at the Bristol Proms. It made a nice change to hear a fruity sensual soprano in this role.'

Review of the CD

'Released in the wake of the South African singer's performance at the Commonwealth Games, this is a cunningly programmed crossover package, a demure sliver of Puccini and Mozart sitting alongside traditional pieces. Matshikiza rises to the challenge and the arrangements are much more idiomatic than is usually the case.'
The Times
4 stars

'Nothing lasts for ever, not even the Peter Moores Foundation, formed 50 years ago by Sir Peter Moores, the son of the founder of the Littlewoods betting company. Over the decades funds have been generously bestowed, particularly on opera and on Chandos Records too.

But the foundation is now closing, and the current studio recording brings down the curtain on its invaluable Opera in English series.

It's a blood-spattered curtain too... For the opera is Verdi's vigorous if uneven Macbeth... and the performance is the kind where almost everything hits home.'
Verdi's Otello
Benjamin's Written on Skin
Donizetti's The Siege of Calais
Wagner's The Flying Dutchman
Rossini's La donna del lago
Donizetti's Anna Bolena
Donizetti's Maria Stuarda
Donizetti's Roberto Devereux
Mussorgsky's Khovanskygate: A National Enquiry
Berlioz's Benvenuto Cellini
Sir Peter Moores received the first award in the philanthropy/sponsorship category for '50 years' support of innovation and accessibility' and 'opening doors for people in opera', in the inaugural International Opera Awards held at the London Hilton on Monday, 22 April 2013.

The Opera Awards are new international awards, established by Opera magazine in partnership with Classic FM Radio and other sponsors. There were 21 categories, with entries from 41 countries, from which the shortlists were drawn up by an international jury.

The world premiere category was won by George Benjamin's Written on Skin; the Peter Moores Foundation funded the CD of the production which was recorded at Aix en Provence and then supported the UK premiere at the Royal Opera House, London as part of its Swansong project. Birmingham Opera's staging of Stockhausen's Mittwoch aus Licht, was also shortlisted for the world premiere category.

'Folk Art is a messy, complex and contradictory category - everyone has their idea of what it is - yet it has never had greater currency in cultural life.'

Martin Myrone Curator of the British Folk Art exhibition, Tate Britain.

As part of Compton Verney's 10th anniversary celebrations it is hosting one of the UK's largest collections of British Folk Art. The exhibition, the first major survey of British Folk Art, features over 150 paintings, sculptures, textiles and objects which have been drawn together from collections across the country (including the one at Compton Verney) to celebrate Folk Art in the UK.
The Guardian

'It is refreshing when the worst thing you can say about an exhibition is that it ends too soon. Tate Britain's sweep through the lost history of British popular art opens a door on a lost world of flying fish, mighty figureheads and bold quiltmaking. The art here is hilarious, beguiling and mysterious by turns, from shop signs that gaudily symbolise the wares within - a huge padlock announcing a locksmith's, a giant boot that hung over a cobbler's shop - to paintings of prize pigs and pictures made by a tailor from his cloth scraps.

Stuff like this is often damned with the faint praise of being called craft rather than art. What's the difference? Art has ideas and imagination. Classing popular art as craft is a way of stripping it of power, by seeing it as mere handiwork without any deep meaning. In reality, such objects embody the imagination of the people - and what a wild imagination it turns out to be.

British Folk Art shows that there lies a whole other cultural history that is barely ever acknowledged by major galleries. My only complaint is that the show could and should be twice as big. This is just a small taste of the truth that museums and stately homes hide. Show it all, and turn the world upside down.Welcome to the old weird Britain.'
Trench Art

As part of a national programme to mark the centenary of the start of the First World War, this is a small display of objects from a Warwickshire-based private collection of Trench Art and is situated within Compton Verney's own Folk Art collection galleries.

Trench Art is a term used to describe objects made from the by-products of 20th and 21st century warfare, but is most widely associated with the First World War. These folk art objects were created by servicemen, civilians and prisoners of war from over 20 countries and are a reminder of the global scale of the conflict.