In the novel “Empire of Wild” by Cherie Dimaline, a family of women spanning three generations fights to rescue their beloved from the clutches of the Rogarou, a werewolf-like creature. Their mission is to locate a missing spouse and safeguard their property from corporate interference. The narrative, characterized by its raw, alluring, and intense nature, was crowned as Indigo’s premier book in 2019, surpassing renowned titles such as Margaret Atwood’s “The Testaments” and Taylor Jenkins Reid’s “Daisy Jones & The Six.”
A substantial investment of approximately $4 million has been allocated to 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 demographic and opera novices while potentially challenging traditionalists who favor classical repertoire.
“Empire of Wild” unfolds in the Penetanguishene Métis community in Georgian Bay, Ontario, the hometown of author Cherie Dimaline. Composer Ian Cusson, also hailing from the same region, drew inspiration from his mother’s tales to identify with the Rogarou depicted in the book.
The collaborative efforts of Cusson and Dimaline strive to introduce contemporary characters that resonate with modern audiences. The opera features diverse elements, including queer characters and a working-class family navigating extraordinary circumstances, portrayed with authentic dialogue reflecting contemporary language nuances, including explicit language.
Elisabeth St-Gelais, an Innu soprano portraying the lead role of Joan, acknowledges the relatability of the story to younger audiences, emphasizing the character’s flaws and struggles that mirror common human experiences.
At its core, “Empire of Wild” delves into themes of power, resistance, and resilience. The narrative revolves around Joan’s quest to reunite with her husband amidst sinister forces and underscores the significance of intergenerational support along maternal lines.
The opera showcases a diverse cast embodying characters rooted in Indigenous lore, symbolizing themes of survival and cultural resilience. The concept of “survivance,” a blend of survival and resistance, conveys Indigenous peoples’ enduring cultural heritage despite historical adversities.
The production’s Indigenous-led creative team, including costume designer Jeff Chief and director Yvette Nolan, fosters a collaborative circle of creation where each member’s input is valued. This innovative approach to artistic creation aims to promote inclusivity and equality in the opera industry.
Ian Cusson envisions this inclusive model being adopted by other opera productions, emphasizing the importance of diverse voices and contributions in creating impactful art.