In Cherie Dimaline’s novel “Empire of Wild,” a saga unfolds as three generations of women strive to rescue their kin from the clutches of the werewolf-like Rogarou to find a missing spouse and safeguard their territory from corporate interference. This compelling narrative, which blends grit, allure, and intensity, claimed the top spot as Indigo’s favorite book of 2019, surpassing renowned works like Margaret Atwood’s “The Testaments” and Taylor Jenkins Reid’s “Daisy Jones & The Six.”
A significant investment of approximately $4 million is underway to support an Indigenous-led creative team in adapting the book into an opera, with plans for the world premiere scheduled in Toronto next spring. This bold move aims to attract a younger demographic and those new to opera, potentially challenging traditionalists who favor classic repertoire.
Set in the Penetanguishene Métis community in Georgian Bay, Ontario, where author Cherie Dimaline hails from, “Empire of Wild” resonates with composer Ian Cusson, also a local resident. Cusson, while collaborating on the musical adaptation, felt a deep connection to the familiar elements in the story, echoing the sentiments of his upbringing and heritage.
The creators aimed to craft relatable modern characters for contemporary audiences in the opera version. Embracing diverse themes such as queer representation and everyday struggles, the production integrates authentic dialogue, including profanity and humor, to resonate with a broad spectrum of viewers.
The protagonist, Joan, portrayed by Innu soprano Elisabeth St-Gelais, embodies a character with flaws and complexities that mirror real-life challenges faced by many. The narrative delves into themes of power, resistance, and familial bonds, emphasizing the importance of ancestral wisdom in overcoming adversities.
Through a diverse cast, including talents like Marion Newman and Evan Korbut, the opera brings forth a narrative rooted in Indigenous experiences, showcasing a blend of traditional storytelling and contemporary perspectives. The essence of “survivance,” encapsulating resilience and cultural continuity, permeates the storyline, reflecting the enduring spirit of Indigenous communities.
With an emphasis on Indigenous leadership in all aspects of the production, from costume design to direction, the opera aims to foster inclusivity and collaboration. This innovative approach to artistic creation, characterized by a circular model of participation, seeks to empower all contributors and revolutionize the opera industry.
Composer Ian Cusson envisions this inclusive creative process as a model for future endeavors, advocating for its widespread adoption across the arts community. By embracing diverse voices and perspectives, Cusson believes that this collaborative approach represents the pinnacle of artistic expression and should serve as a blueprint for future artistic endeavors.
