In Cherie Dimaline’s novel “Empire of Wild,” a saga unfolds as three generations of women strive to rescue a loved one from the clutches of the werewolf-like Rogarou. Their mission is to bring back a missing husband and safeguard their territory from corporate encroachment.
The narrative is described as raw, alluring, and intense, earning recognition as Indigo’s top book of 2019, surpassing renowned works such as Margaret Atwood’s “The Testaments” and Taylor Jenkins Reid’s “Daisy Jones & The Six.” An investment of approximately $4 million is underway to transform the book into an opera, led by an Indigenous creative team, with the world premiere scheduled for next spring in Toronto.
This innovative endeavor aims to attract a youthful audience and newcomers to opera while potentially challenging traditionalists who favor the classical repertoire. The story unfolds in the Georgian Bay Métis community of Penetanguishene, Ontario, where both author Cherie Dimaline and composer Ian Cusson have roots. Cusson, deeply moved by the novel, identified parallels between the Rogarou in the story and tales passed down by his mother.
The creators sought to depict contemporary characters that resonate with modern audiences, including queer individuals and a working-class family facing extraordinary challenges. The opera features unconventional elements, including profanity and dark themes, akin to a “film on steroids,” appealing to the preferences of younger viewers.
The protagonist, Joan, portrayed by Innu soprano Elisabeth St-Gelais, embodies a character with relatable flaws and struggles, adding depth and realism to the narrative. “Empire of Wild” delves into themes of power, resistance, and resilience, emphasizing the importance of intergenerational support along matrilineal lines.
The Indigenous-led opera showcases a diverse cast, including talents like Marion Newman and Evan Korbut, embodying characters inspired by Métis folklore. The production aims to convey a message of survival and resistance, celebrating Indigenous resilience in the face of historical challenges.
This groundbreaking opera, guided by Indigenous creators, marks a pivotal moment for Indigenous representation in the arts. The inclusive creative process, championed by individuals like Cree costume designer Jeff Chief and Algonquin director Yvette Nolan, fosters a collaborative environment where every contribution is valued.
Composer Ian Cusson advocates for this inclusive approach to artistry, envisioning a future where such methods are adopted across the opera industry. The opera “Empire of Wild” stands as a testament to the power of diverse voices coming together in a circle of creation, shaping a new narrative in the realm of opera.