In the novel “Empire of Wild” by Cherie Dimaline, a tale unfolds where three generations of women strive to rescue their family member from the clutches of the werewolf-like Rogarou in a quest to find a missing husband and safeguard their land from corporate interests. The narrative is characterized by its raw, alluring, and intense nature, earning it the distinction of being named Indigo’s top book of 2019, surpassing renowned titles like “The Testaments” by Margaret Atwood and “Daisy Jones & The Six” by Taylor Jenkins Reid.
A significant investment of around $4 million is underway for an Indigenous-led creative team to adapt the book into an opera, with plans for the world premiere set in Toronto next spring. This bold move aims to attract a younger audience and those new to opera while also challenging traditionalists who favor the classical repertoire.
The setting of “Empire of Wild” is the Georgian Bay Métis community in Penetanguishene, Ontario, where both the author Cherie Dimaline and composer Ian Cusson hail from. Cusson, inspired by the familiar elements in the story from his upbringing, emphasized the importance of modernizing characters to resonate with contemporary audiences.
The narrative, rooted in themes of power, resistance, and resilience, revolves around Joan’s quest to reunite with her husband amidst dark forces at play. Intergenerational support along strong matrilineal lines is a central aspect of the story, drawing inspiration from Métis folklore about the Rogarou.
The opera features a diverse cast of talents, including Innu soprano Elisabeth St-Gelais in the lead role of Joan. The collaborative effort of Indigenous artists in bringing this story to life highlights the themes of survivance and resilience, showcasing a different creation perspective in the artistic realm.
Overall, “Empire of Wild” represents a departure from traditional opera creation methods, embracing an inclusive approach where every contributor is valued within the creative process. The aim is to set a new standard for artistry that prioritizes equality of voices and participation from all involved, setting a precedent for future opera productions to follow suit.