Cherie Dimaline’s novel, “Empire of Wild,” tells the tale of three generations of women fighting to rescue their loved one from the clutches of the Rogarou, a werewolf-like creature, in a bid to bring back a missing husband and safeguard their territory from corporate interests.
This gripping, alluring, and intense narrative was chosen as Indigo’s top book of 2019, surpassing renowned works such as “The Testaments” by Margaret Atwood and “Daisy Jones & The Six” by Taylor Jenkins Reid.
An investment of approximately $4 million is underway to assemble an Indigenous-led creative team to transform the book into an opera, with the world premiere scheduled for next spring in Toronto.
This bold move aims to attract a younger demographic and opera newcomers, potentially challenging traditionalists who favor the classical repertoire.
“Empire of Wild” unfolds in the Georgian Bay Métis community of Penetanguishene, Ont., Dimaline’s hometown. Composer Ian Cusson, also from the same locale, identified the Rogarou from the tales his mother recounted when he delved into the book.
“Even though it’s a fictional piece, I encountered familiar characters and dialects from my upbringing,” shared Cusson during a recent workshop in Toronto with the cast and orchestra.
Cusson emphasized that the opera provides a platform for contemporary narratives that resonate with present-day audiences, challenging the notion that operas should solely focus on historical or European stories.
Contemporary Representation
Cusson and Dimaline, who penned the libretto, aimed to craft relatable modern characters for today’s viewers.
“The story features queer characters and a working-class family navigating extreme circumstances in their daily lives,” Cusson remarked.
The dialogue reflects modern speech patterns, including profanity and humor, a departure from conventional opera norms but aligned with the creators’ vision of a dynamic and engaging production.
Cusson likened the project to an amplified cinematic experience, reveling in the story’s darker and horror-inspired elements, which he believes resonate with contemporary audiences seeking immersive entertainment.
Elisabeth St-Gelais, a 30-year-old Innu soprano, embodies the lead role of Joan in the opera. Having immersed herself in “Empire of Wild” twice, she acknowledges the story’s universal themes that resonate with younger audiences.
“Joan exhibits relatable flaws and coping mechanisms during crises, mirroring common human experiences,” St-Gelais remarked, alluding to her character’s struggles with alcohol amidst her husband’s disappearance.
Defying Conventions
At its core, “Empire of Wild” delves into themes of power, defiance, and fortitude.
Joan’s husband mysteriously disappears after a land dispute, only to resurface 11 months later as a preacher under dubious influence, erasing his memories of her. A suspicious figure with industrial interests complicates matters, prompting Joan to unearth ancestral magic to reunite with her spouse.
The narrative emphasizes