In Cherie Dimaline’s novel “Empire of Wild,” a saga unfolds as three generations of women strive to rescue their loved one from the clutches of the Rogarou, a werewolf-like entity. Their quest involves finding a missing husband and safeguarding their territory from corporate encroachment. The raw, alluring, and intense narrative propelled the book to the top spot at Indigo in 2019, surpassing renowned titles like Margaret Atwood’s “The Testaments” and Taylor Jenkins Reid’s “Daisy Jones & The Six.”
A substantial investment of around $4 million is earmarked to support an Indigenous-led team in transforming the novel into an opera. The world premiere is scheduled for next spring in Toronto, aiming to attract a younger audience and opera newcomers while potentially challenging traditionalists favoring the conventional repertoire.
Set in the Georgian Bay Métis community of Penetanguishene, Ontario, where author Cherie Dimaline hails from, “Empire of Wild” resonates with composer Ian Cusson, who also originates from the same region. The opera’s storyline, inspired by familial tales, captures contemporary themes and characters that reflect modern society, including queer individuals and blue-collar families navigating extraordinary circumstances.
The production, described as a visually striking experience akin to a “film on steroids,” delves into the story’s darker, horror-infused elements. Elisabeth St-Gelais, a talented Innu soprano cast as the lead character Joan, emphasizes the relatability of the narrative to young audiences, highlighting Joan’s struggles with personal vices amid her husband’s mysterious disappearance.
At its core, “Empire of Wild” explores themes of power, resistance, and resilience. Joan’s journey to reunite with her transformed husband unveils a blend of old magic and intergenerational support, underscoring strong matrilineal bonds. Drawing inspiration from Métis folklore, the opera showcases a diverse cast, including Marion Newman and Evan Korbut, embodying the characters with authenticity and shared cultural truths.
The collaborative effort of an Indigenous creative team, featuring talents like Cree designer Jeff Chief and Algonquin director Yvette Nolan, signifies a shift towards inclusive and equitable artistry. This innovative approach to opera creation promotes a harmonious circle of voices where every participant’s contribution is valued, paving the way for a more diverse and inclusive artistic landscape.