In Cherie Dimaline’s novel “Empire of Wild,” three generations of women are determined to rescue their beloved from the clutches of the werewolf-like Rogarou. Their mission is to find a missing husband and safeguard their territory from corporate interests.
The narrative, characterized by its raw, captivating, and intense nature, was recognized as the top book of 2019 by Indigo, surpassing renowned titles like Margaret Atwood’s “The Testaments” and Taylor Jenkins Reid’s “Daisy Jones & The Six.”
An investment of around $4 million has been allocated for an Indigenous-led creative team to adapt the book into an opera, with plans for the world premiere in Toronto next spring. This bold move aims to attract a younger demographic and opera newcomers, while also challenging traditional opera enthusiasts.
“Empire of Wild” unfolds in the Georgian Bay Métis community of Penetanguishene, Ontario, where Dimaline has roots, and where composer Ian Cusson also hails from. Cusson, who found echoes of his upbringing in the book, emphasized the importance of showcasing contemporary characters that resonate with modern audiences.
The story delves into themes of power, resistance, and resilience, focusing on Joan’s quest to reunite with her husband amidst sinister forces at play. The narrative draws inspiration from Métis folklore, with a diverse cast including Marion Newman and Evan Korbut embodying the characters.
The opera’s creative team, led by Indigenous talents, is reshaping the traditional opera landscape by fostering inclusivity and valuing contributions from all involved. This collaborative and egalitarian approach to art creation is a cornerstone of the production, signaling a shift towards more diverse and representative storytelling in the opera world.
