In Cherie Dimaline’s novel “Empire of Wild,” a saga unfolds involving three generations of women striving to rescue a family member ensnared by the werewolf-like Rogarou. Their mission is to bring back a missing husband and safeguard their territory from corporate encroachment.

Renowned for its raw, alluring, and intense narrative, “Empire of Wild” was hailed as Indigo’s top book in 2019, surpassing notable works such as Margaret Atwood’s “The Testaments” and Taylor Jenkins Reid’s “Daisy Jones & The Six.”

With an investment of approximately $4 million, an Indigenous-led team is gearing up to transform the novel into an opera, culminating in a world premiere scheduled for next spring in Toronto. This bold endeavor aims to attract a younger audience and opera novices while potentially challenging traditionalists who favor the classic repertoire.

Set in the Georgian Bay Métis community of Penetanguishene, Ontario, where author Cherie Dimaline and composer Ian Cusson hail from, “Empire of Wild” resonates deeply with its creators. Cusson, moved by the familiarity of the characters and dialects from his upbringing, emphasized the opera’s contemporary relevance and its ability to represent diverse narratives.

The opera showcases modern characters that audiences can relate to, including queer individuals and a hardworking blue-collar family facing extraordinary circumstances. Embracing colloquial language, including profanity and humor, the production promises a blend of intensity and entertainment that appeals to a younger demographic.

Elisabeth St-Gelais, an Innu soprano portraying the lead role of Joan, acknowledges the story’s universal themes and complex characters that resonate with diverse audiences. “Empire of Wild” delves into power dynamics, resistance, and resilience, revolving around Joan’s quest to reunite with her husband amidst supernatural and industrial forces.

This narrative underscores intergenerational support along matrilineal lines, drawing inspiration from Métis folklore while casting a diverse ensemble of talents, including Marion Newman and Evan Korbut. The opera encapsulates themes of resilience and “survivance,” reflecting Indigenous experiences of cultural preservation and adaptation in the face of adversity.

Embracing Indigenous perspectives in artistry, the opera features an inclusive creative team led by Jeff Chief and Yvette Nolan, fostering a collaborative and egalitarian approach to storytelling. Cusson envisions this model of inclusive creation as a blueprint for future opera productions, advocating for diverse voices and contributions to enrich the artistic process.