Cherie Dimaline’s novel “Empire of Wild” depicts a multi-generational tale of women fighting to rescue a family member from the clutches of a werewolf-like entity known as the Rogarou. Their mission is to locate a missing husband and safeguard their territory from corporate interests. This compelling narrative, recognized for its edgy, alluring, and intense nature, was acclaimed as Indigo’s top book of 2019, surpassing popular works like Margaret Atwood’s “The Testaments” and Taylor Jenkins Reid’s “Daisy Jones & The Six.”
An investment of approximately $4 million is underway to transform Dimaline’s book into an opera spearheaded by an Indigenous-led creative team. The world premiere is scheduled for the upcoming spring in Toronto, aiming to attract a younger audience and opera newcomers, while potentially challenging traditionalists devoted to the classic repertoire.
Set in the Georgian Bay Métis community of Penetanguishene, Ontario, where Dimaline hails from, “Empire of Wild” resonates with composer Ian Cusson, also a native of the area. Cusson drew inspiration from his childhood tales of the Rogarou shared by his mother, finding familiarity in the characters and dialogue presented in the book.
The collaborative effort between Dimaline and Cusson aimed to craft contemporary characters that modern audiences could relate to, including queer individuals and a working-class family navigating extraordinary circumstances. The opera production, described as a heightened cinematic experience, explores darker and horror-themed elements present in the story.
Innu soprano Elisabeth St-Gelais, embodying the lead role of Joan, expressed how the narrative’s relatable aspects resonate with younger viewers. The central theme of power, resistance, and resilience unfolds as Joan’s quest to reunite with her husband uncovers hidden agendas and the importance of ancestral wisdom passed down through generations.
The opera showcases a diverse cast, featuring talents like Kwagiulth and Stó:lō mezzo-soprano Marion Newman and Anishinaabe baritone Evan Korbut, embodying the characters with authenticity and shared truths among Indigenous communities. The concept of “survivance,” blending survival and resistance, underscores the enduring cultural legacy of Indigenous peoples against colonial pressures.
The innovative approach of Indigenous creators in shaping this production symbolizes a broader movement towards inclusivity and diverse representation in various fields, as expressed by St-Gelais. The collaborative ethos of the creative team, with members like Cree designer Jeff Chief and Algonquin director Yvette Nolan, emphasizes equality of voices and contributions in the artistic process, setting a precedent for future endeavors in the opera world.