Chakar was born in 1981 in the Derik area of Mardin, southeastern Turkey. She studied art at Anadolu Institute in Eskisehir city in Turkey. In 2003, she studied The Art of Voice at Gazi Ankara University. In 2008, she moved to The Konservatuar (The Conservatory) and was trained in opera.
For the purpose of filming a documentary, Rudaw Media Network has invited Chakar to the Kurdistan Region. In this interview published on July 1, 2019, she unveils her projects and future plans.
Hiwa Salih, Rudaw: What did you find the most attractive during your visit to Erbil?
Pervin Chaka: This is my first time visiting Erbil. It has been a few days since I got here. But, I have not wandered around much due to the filming of my documentary. I visited the Erbil citadel. It was very attractive. I would like to see and visit more places.
During what part of your life does the Rudaw-produced documentary shed light on?
Do you have plans to tell tales of Kurdish legends in operas?
I have been working on discovering and researching Kurdish music and traditional songs in order to mix them with opera so the whole world can be acquainted with Kurdish art, music and legends.
Can Kurdish songs and singers really perform in an opera-like way?
I am now combining opera with Kurdish songs in order to make Kurds more acquainted with opera. 
You are fond of opera. When you would like to listen to a song, who would you like to choose?
Of course I am very much interested in the renowned Kurdish singer Shakiro. I also like the voice of the Bakuri (North Kurdistan) singer Mirade Kine. The maqam and lawks [traditional Kurdish music] which they perform are very traditional. I think pieces by such renowned singers must be worked with.
It is said that Pervin Chakar has been working on a project about the Mem and Zin legend. What happened to that project?
I am calling on relevant authorities of the Kurdistan Regional Government to help me in order to highlight Kurdish art. In several European countries, you have performed opera. What was the perception of the Europeans to Kurdish opera?
There are groups in northern Italy that are very similar to Kurdish culture and traditions. I performed some opera concerts there. They warmly welcomed it. And now they love Kurds and Kurdish art.
What is the Kurds' take on your opera activities?
They evaluate it positively, and they welcome it. I am performing the Kurdish songs with opera techniques and performances in order to make opera interesting for the people. As Kurds have given space to Arabesque, pop and rock within Kurdish songs, I think they will embrace and give space to opera, too. But it needs time.
Interview translated by Zhelwan Z. Wali
