In Cherie Dimaline’s novel “Empire of Wild,” a saga unfolds as three generations of women embark on a mission to rescue their loved one from the clutches of the Rogarou, a werewolf-like entity. Their goal is to bring back a missing husband and safeguard their territory from corporate encroachment.
Renowned for its raw, captivating narrative, “Empire of Wild” was crowned as Indigo’s top book of 2019, surpassing acclaimed works such as Margaret Atwood’s “The Testaments” and Taylor Jenkins Reid’s “Daisy Jones & The Six.”
A substantial investment of around $4 million has been allocated to an Indigenous-led creative team to transform the novel into an opera, with plans for the world premiere scheduled in Toronto next spring. This bold move aims to attract a younger demographic and opera novices, potentially challenging traditionalists who favor classic repertoire.
Set in the Georgian Bay Métis community of Penetanguishene, Ontario, where author Cherie Dimaline hails from, “Empire of Wild” resonates with composer Ian Cusson, who recognized elements of the Rogarou from his childhood tales. The opera’s development, overseen by Dimaline and Cusson, introduces contemporary characters that mirror modern audiences, including queer individuals and a working-class family navigating extraordinary circumstances.
Elisabeth St-Gelais, a talented Innu soprano portraying the lead character Joan, emphasizes the relatable facets of the story for younger viewers. The narrative delves into themes of power, resistance, and resilience, as Joan’s quest to reunite with her husband unfolds against a backdrop of ancestral magic and intergenerational support.
Through an ensemble of diverse talents, including Marion Newman and Evan Korbut, the opera embodies a rich tapestry of Indigenous storytelling. The production not only showcases Indigenous cultural resilience but also fosters a collaborative creative process that values each contributor’s perspective.
Highlighted by a collaborative team led by Indigenous visionaries, the opera challenges conventional artistic structures. By embracing a circular approach to creation, where every voice is valued, “Empire of Wild” sets a precedent for inclusive and empowering artistry that Cusson hopes will inspire future opera endeavors.