In the novel “Empire of Wild” by Cherie Dimaline, a saga unfolds as three generations of women endeavor to rescue their beloved from the clutches of the werewolf-like Rogarou. Their mission aims to locate a missing husband and safeguard their territory from corporate encroachment.
Regarded for its gritty, alluring, and intense narrative, the book was crowned as Indigo’s top publication in 2019, surpassing renowned works such as Margaret Atwood’s “The Testaments” and Taylor Jenkins Reid’s “Daisy Jones & The Six.”
A substantial investment of approximately $4 million is underway to empower an Indigenous-led creative team to transform the novel into an opera, culminating in a world premiere scheduled for next spring in Toronto. This daring venture seeks to attract a younger audience and newcomers to opera, potentially challenging traditionalists who hold a preference for the conventional repertoire.
The setting of “Empire of Wild” is the Georgian Bay Métis community in Penetanguishene, Ontario, Cherie Dimaline’s hometown. Composer Ian Cusson, also hailing from the same locale, identified elements of the Rogarou from tales his mother recounted. He emphasized the importance of offering a platform for contemporary narratives to thrive within the realm of opera, resonating with present-day audiences.
Cusson and Dimaline aimed to craft relatable, modern characters for contemporary viewers, including queer individuals and a working-class family grappling with extraordinary circumstances. The libretto, penned by Dimaline, incorporates colloquial language and elements of humor, deviating from traditional operatic conventions.
Elisabeth St-Gelais, a talented Innu soprano, embodies the lead role of Joan in the opera adaptation of “Empire of Wild.” She acknowledges the story’s ability to connect with younger audiences through its portrayal of characters facing personal struggles and imperfections.
At its core, “Empire of Wild” delves into themes of power dynamics, resistance, and resilience. Joan’s quest to reunite with her husband unveils a narrative rich in intergenerational wisdom and matrilineal strength, drawing from Métis folklore.
The opera production features a diverse cast including talents like Marion Newman and Evan Korbut, embodying the essence of Indigenous storytelling and cultural resilience. The concept of “survivance,” a blend of survival and resistance, underscores the enduring spirit of Indigenous communities in the face of historical challenges.
Led by Indigenous creators and artists, the opera represents a unique collaboration that celebrates Indigenous voices and perspectives. The inclusive approach to artistic creation fosters a sense of equality and value for every contributor, reflecting a new paradigm in opera production.
As the opera “Empire of Wild” unfolds, it not only showcases a gripping narrative but also signifies a transformative shift in the opera world towards embracing diverse voices and narratives, setting a precedent for future endeavors in the industry.