Pacific Harmonies | Opera Queensland
Heru Pinkasova. Image supplied by Opera Queensland.
The last time I went to a recital in Opera Queensland’s Studio Series my primary question going in was about how the singer would carry themselves without a character to lean on; what would the experience of the performer be? I asked this question because I knew the musical side of things was covered, that it would be excellently arranged music, sung excellently. This time, attending Pacific Harmonies with Heru Pinkasova my big question going in was how the advertised blend of western opera would be collaged with traditional Pasifika music across the hour-long recital. I was delighted to find that it would be Pinkasova’s personal charm that bridged the perceived divide between these styles, as well as the inclusion of music theatre, jazz standards, and original contemporary works in the set.
There was a much less formal feeling than one would expect from an opera recital, and this worked to the evening’s advantage. Low-lighting and cabaret seating created the perfect avenue for Pinkasova to share herself with the audience as well as the music she loves, the music that has shaped her. A wonderfully expressive performer, Pinkasova gives us charming and at times hilarious recounts of what the non-English songs are about and the stories they are a part of (whether that be her personal story or that of the opera/musical they originate from). Her command of the room comes from an inner warmth and a sense of sharing rather than any kind of more traditional sense of her having ‘authority’ over the audience; we weren’t so much a captive audience as we were a collection of new friends, eager to learn about Pinkasova and what music means to her.
A few musical highlights from the night include Un bel di, vedremo (One Final Day) from Madame Butterfly, Ari Nimaibena’u (My Life’s At An End) / Pokare Kare Ana, and Gudi-Bye Tomiaho / Along the Road to Gundagai. The first was of note to the sheer emotional and sonic power of Pinkasova’s performance with the latter two becoming favourites due to these factors combined with their stunning arrangements. However, my true favourite of the night was Pinkasova’s acapella rendition of Norae which she explained is a warrior’s lament. Her performance of the song’s power and sorrow is made all the more moving by the precision of this unaccompanied vocal.
One hour with Pinkasova could have easily been many; her voice, her stories, her presence were all so enchanting. The way she connects her personal history and the history of the pacific and to song is masterful; just like her vocals. This was a wonderful night and I hope to see Pinkasova sing again soon.
