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 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.

Photos: Amit Lennon Courtesy: Arts & Business
These medals celebrate those who support the arts in its widest forms and recognise the contribution they make to society and throughout the UK cultural landscape.

'Philanthropy is rarely more powerful than when it's led by a determined fan. By focusing on the area that he cares about, the difference that Sir Peter Moores has made to opera, and to visual art, has been incalculable. "Most people aren't as nutty as I am," he says. "Most people just want to give you the money and go away. I'm not like that." As a result, one can truly say that some great works only exist - or have been preserved - because he made it happen.'
Rodin's The Three Shades
Moores' Three Piece Sculpture: Vertebrae 1968
A major exhibition both inside the gallery and in the grounds comparing the work of British sculptor Henry Moore with one of the pioneers of modern sculpture Auguste Rodin.

The Daily Telegraph

'Two giants of sculpture. On the one hand, Henry Moore, the Yorkshireman who put Britain on the Modernist map, widely regarded as the greatest sculptor of the 20th century (and if he isn't, I can't think who is). And on the other, Auguste Rodin, the great French figurative artist, who is without doubt the greatest sculptor of the 19th century.

This exhibition puts them into a conversation - for which read, inevitably, a competition - in 2013 in the grounds of Moore's studio in Perry Green, Hertfordshire. Yet anyone expecting a straight contest between modernity and tradition is barking up the wrong tree entirely.

Rodin was really the first modern sculptor, the one who threw off the sterile mantle of neo-classicism, evoking the heat beneath the human skin. The immediacy and sensuality of his approach - modelled in clay and cast in bronze - had an impact equivalent to that of Impressionism in painting.

If the nakedness of Eve, the first figure we encounter as we set out into Moore's garden, feels classical to modern eyes, we're left in no doubt that this is a real woman, not some idealised muse. The tactility of the bronze surface, the sense of the sculptor's hand on the original clay, enhances a feeling of physical vulnerability, while the massive, headless Cybele gives an even more powerful sense of the potent plasticity of female flesh.'