In the novel “Empire of Wild” by Cherie Dimaline, a tale unfolds where three generations of women strive to rescue their beloved from the clutches of the werewolf-like Rogarou to find a missing husband and safeguard their land from corporate interests. This gripping and provocative narrative was honored as Indigo’s top book of 2019, surpassing renowned titles such as Margaret Atwood’s “The Testaments” and Taylor Jenkins Reid’s “Daisy Jones & The Six.”
An investment of around $4 million is underway to support an Indigenous-led creative team in transforming the novel into an opera, with plans for the world premiere set in Toronto next spring. This innovative endeavor aims to attract a younger audience and opera newcomers while potentially challenging traditionalists who prefer the established repertoire.
The setting of “Empire of Wild” is the Georgian Bay Métis community in Penetanguishene, Ontario, Cherie Dimaline’s hometown. Composer Ian Cusson, also from the same region, resonated with the story’s depiction of the Rogarou from tales his mother shared. This collaboration seeks to present contemporary characters that modern audiences can relate to, including queer individuals and a blue-collar family navigating extreme circumstances.
The narrative delves into themes of power, resistance, and resilience as Joan, the protagonist, confronts the disappearance of her husband following a disagreement over land sale. Through intergenerational support along matrilineal lines and the invocation of ancient magic, Joan seeks to reunite with her lost love amidst sinister forces at play.
An Indigenous-led creative team, featuring diverse talents like soprano Elisabeth St-Gelais, embraces the story’s cultural roots while embodying a universal truth of resilience and survival. The concept of “survivance,” blending survival and resistance, underscores Indigenous peoples’ enduring cultural practices amid colonial pressures.
Working on this opera has been a transformative experience for the artists involved, highlighting the flourishing of Indigenous voices across various societal facets. The inclusive and collaborative approach to artistic creation, championed by the team, emphasizes the value of every contributor’s input, fostering a holistic and egalitarian creative process.
Composer Ian Cusson envisions this inclusive model of artistic creation as a blueprint for future operas and companies, advocating for a widespread adoption of this collaborative ethos to enhance the art-making process.