In the novel “Empire of Wild” by author Cherie Dimaline, a trio of women spanning different generations grapple with freeing their loved one from the clutches of the werewolf-like Rogarou. Their mission is twofold: to locate a missing husband and safeguard their territory from corporate interests. This compelling narrative, characterized by its gritty, sensual, and intense nature, earned the prestigious distinction of being named 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.”
With a substantial investment of approximately $4 million, an Indigenous-led creative team is embarking on the ambitious endeavor of adapting the novel into an opera. The world premiere is slated to take place in Toronto next spring. This bold move aims to attract a younger audience and opera novices, potentially challenging traditionalists who prefer the conventional repertoire.
Set in the Georgian Bay Métis settlement of Penetanguishene, Ontario, the narrative of “Empire of Wild” resonates with author Cherie Dimaline’s upbringing in the region. Composer Ian Cusson, also hailing from the same community, drew inspiration from the tales his mother recounted, recognizing elements of the Rogarou in Dimaline’s work. This collaborative effort seeks to carve out a space where contemporary stories like this can flourish, transcending temporal and geographical boundaries to resonate with present-day audiences.
In a departure from conventional operatic norms, Dimaline and Cusson endeavored to craft relatable modern characters that mirror the diversity and vernacular of today’s society. The inclusion of queer characters and a working-class family facing extraordinary circumstances injects a sense of realism into the narrative. This production, described as a cinematic experience amplified, delves into macabre and horror themes, catering to the preferences of a younger demographic seeking immersive entertainment.
Elisabeth St-Gelais, a prominent Innu soprano portraying the lead role of Joan, underscores the story’s universal themes that appeal to a contemporary audience. “Empire of Wild” delves into power dynamics, resistance, and resilience, encapsulated in Joan’s quest to reunite with her husband amidst sinister machinations. The narrative emphasizes intergenerational solidarity along matrilineal lines, drawing from Métis folklore while showcasing a diverse cast embodying a range of talents and cultural backgrounds.
The opera’s emphasis on “survivance,” a concept amalgamating survival and resistance within Indigenous contexts, underscores the enduring cultural resilience of Indigenous communities. Led by Indigenous creators, this groundbreaking production challenges traditional artistic paradigms, fostering a collaborative environment where every contributor is valued for their unique perspective. This inclusive approach to artistry signifies a step towards a more equitable and diverse landscape within the opera genre.