In Cherie Dimaline’s novel “Empire of Wild,” a trio of women from different generations strive to rescue a family member from the clutches of the Rogarou, a werewolf-like entity. Their mission is to bring back a missing husband and safeguard their territory from corporate interests.
Recognized for its raw, alluring, and intense narrative, the book was crowned as Indigo’s top pick in 2019, surpassing renowned works such as Margaret Atwood’s “The Testaments” and Taylor Jenkins Reid’s “Daisy Jones & The Six.” Now, a substantial investment of around $4 million is allocated to an Indigenous-led creative team to transform the novel into an opera, with the world premiere set for next spring in Toronto.
This bold venture aims to attract a younger audience and opera novices, potentially challenging traditionalists who prefer conventional repertoire. Set in the Georgian Bay Métis community of Penetanguishene, Ontario, the story resonates with author Cherie Dimaline’s upbringing in the area. Composer Ian Cusson, also hailing from the same region, drew inspiration from familiar tales of the Rogarou passed down by his mother.
The collaborative duo, Cusson and Dimaline, strived to craft relatable, contemporary characters for modern audiences. Their inclusivity encompasses queer individuals and a working-class family grappling with extraordinary circumstances, including profanity and humor in their dialogue, a departure from conventional opera norms.
Innu soprano Elisabeth St-Gelais embodies the lead role of Joan, a character plagued by personal struggles and the disappearance of her spouse. The narrative delves into themes of power, resistance, and resilience, portraying a tale steeped in intergenerational support and matrilineal strength.
The opera, inspired by Métis folklore, features a diverse cast including Indigenous talents like Marion Newman and Evan Korbut. Through their portrayals, the artists convey a universal truth of survival and resilience shared among Indigenous communities, encapsulating the concept of “survivance.”
This groundbreaking production led by Indigenous creators marks a pivotal moment in showcasing Indigenous excellence across various spheres. The collaborative ethos of the creative team, including individuals like Cree designer Jeff Chief and Algonquin director Yvette Nolan, underscores a holistic approach to artistry where every contribution is valued.
With a vision to instill this inclusive model of creation in the broader opera landscape, Cusson advocates for a paradigm shift towards equitable and diverse artistic processes. The aspiration is to cultivate a culture of shared ownership and creative empowerment, fostering a new era of artistic expression and collaboration.