Matt Peacock

CEO, Streetwise Opera (2002–present)
I founded Streetwise Opera following a chance comment by an MP about stepping over homeless people coming out of the Opera House. At the time I was working in both the arts and homeless sectors. Together with the residents of the nightshelter in which I worked we raised a little money to stage an opera at the Royal Opera House. Streetwise Opera was born, and without any experience of running a company I was suddenly thrust onto the roller-coaster of a start-up. Seven years on, we run a music programme in 11 homeless centres nationwide and have just picked up two big awards in the arts and homeless worlds. With a number of other organisations we have been lobbying hard, and are beginning to gain recognition for the arts as a legitimate tool to support homeless people.
Clore Leadership Programme (2004–2005)
Without doubt the Clore Leadership Programme has helped me more than anything else in my career thus far. As a means of personal and professional development, opening doors and making connections across the creative sectors, nothing comes close.
Director of Marketing, Opera Boston (2001–2002)
This move to the US was sadly very brief since my work permit took nine months to arrange and in that time the first shoots of Streetwise Opera were emerging.
Key Worker, The Passage Nightshelter (1996–2001)
Having lived in a few big cities I got more and more interested in homelessness, and when I moved to London I volunteered at The Passage Nightshelter. I soon became a part-time Key Worker, handling case files for half a dozen clients at a time. In the 1990s, the Nightshelter occupied a disused building where the hot water regularly broke down, and there was the occasional rat for company at night. Despite this, the atmosphere was tremendous – as was working with people who could be forgiven for moaning about their situation but instead only looked forward.

Assistant Editor, Opera Now, Rhinegold Publishing (1998–2001)
It was a short move upstairs from the advertising to the editorial floor at Rhinegold and I embarked on a job that must be the envy of many people in the arts world – travelling around the globe reviewing operas, interviewing opera stars and working on an exciting magazine where no two days were the same.
Advertising Executive, Rhinegold Publishing (1996–1998)
I quickly realised that the structure (and regular income) of an office job suited me more than performing and took a job selling advertising space.
Freelance singer, Paris (1995–1996)
After graduating in music at Edinburgh University, I won a travel scholarship to spend a year in Paris. As well as taking lessons from the wonderfully named Madame Mouton, I sang in the Collegium Vocale and Chapelle Royale and took on a role that has to be the pinnacle of my singing career – as a barbershop singer in the Euro Disney Christmas show. What could be better than starring alongside Mary Poppins singing ‘Chim Chiminey’ wearing a top hat and tails?