On 10 May 2012 the Opening Mass for the 50th Eucharistic Congress was celebrated in an open-air venue of the Royal Dublin Society in Dublin, Ireland. The Mass for the Solemnity of the Body and Blood of Christ was broadcast live by RTÉ (the Irish National Radio and Television Network), in the United States and other parts of the world by EWTN (the Eternal Word Network), and in Canada and other parts of the world by the Salt and Light Network. I would invite readers of the Pray Tell blog go to the Salt and Light network’s You Tube video of Opening Mass. I think it would be of value to reflect on how the OF can be celebrated on an occasion of high festivity with sensitivity to the heritage of the Roman Rite, people of multiple languages and cultures who have gathered on a unique occasion, and the inculturation of the Rite in Ireland. I would invite comments especially in three areas: the music chosen, the visual environment, and Cardinal Ouellet’s homily
Musical Program: The vocal participation of the faithful was certainly encouraged by the printed programs that were prepared for the participants and the directions given by the director of the schola, Fr. Paul Kenny. Random close-ups of the participants showed a significant number of them joining in the singing. It would be interesting to know how many of the pieces chosen were long familiar to Irish church goers and how many were new, perhaps even commissioned for this service. The heritage of Roman Rite liturgical music was well-represented by the chants and polyphony sung by the Palestrina Choir of the Dublin Pro-Cathedral (“Lauda Sion,” the facultative sequence for the feast; “Credo III”; the Missal chants at the beginning of the Eucharist; the chanting of the Preface). Irish composers were clearly in evidence: Columba McCann’s joyous processional “Let the People Praise You, O Lord”; Ephrem Feeley’s sturdy setting of the “Glory to God” and the pleading “Lamb of God” from his Mass of St. Paul; Liam Lawton’s lyric setting of Psalm 116; Fintan O’Carroll’s ringing “Celtic Alleluia”. I wasn’t able to discover the source of the intriguing concertato on “O Sacred Most Holy” that served as the concluding music.
Perhaps surprising might be the amount of music from recent French tradition: a Taizé “Kyrie” as the response to the petitions in multiple languages of the Universal Prayer; Eucharistic Acclamations from Lourdes in which the congregation sings acclamations (e.g., “Holy, Holy, Holy, Lord God of hosts,” “Alleluia,” or “Amen” to various phrases of the Sanctus, Memorial Acclamation, and Doxology respectively). There was also some Irish-inspired (flute, harp) instrumental during the Presentation and Preparation of the Offering.
Visual Environment. Both the altar and the surrounding visual materials of sanctuary area reproduce the reordering of the Chapel of All the Saints of Ireland at the Pontifical Irish College in Rome. These mosaics are the work of Fr. Marko Ivan Rupnik, S.J., and the Atelier Centro Aletti. The apse mosaic centers on Christ holding open the book of the Scriptures at the text “I am the Good Shepherd.” At the right hand of Christ we see the Blessed Virgin gesturing toward her Son, with a representation of the façade of the basilica of Knock inserted above that gesture. Behind Mary is St. Patrick, Patron of Ireland; St. Columbanus, Irish missioner and founder of the monastery of Bobbio; and Blessed Columba Marmion, Benedictine monk and spiritual writer. At the left side of Christ we see John the Baptist, also gesturing toward Christ and, with Mary, forming the deesis or “intercession” iconographic pose. Behind John is St. Oliver Plunkett, martyred in England in 1681 and declared a saint in 1975; St. Brigid, patroness of Ireland; and Fr. Ragheed Ganni, a student at the Irish College who was murdered after celebrating Mass in Mosul on 3 June 2007.
Cardinal Ouellet’s homily. The papal legate offered a rich teaching homily, beginning with an acknowledgement of the circumstances in which the Irish church finds itself at this point in its history, confronting these “signs of the times” with a message from each of the three Scriptures that had been proclaimed. What might be of special interest to the readers of Pray Tell, was the Cardinal’s decision to offer a catechesis on the Missal translation of the Precious Blood shed “for many” meaning Jesus’ sacrifice intended and sufficient as salvific for all, although we cannot tell who will in fact actualize this offer of grace.