THE MUSICAL director of our high school glee club and I were discussing the repertoire of the songs for our school’s 49th foundation celebration’s thanksgiving Mass when our superintendent forwarded a news article in our ASFES group chat.
Written by Devin Watkins on the Vatican News, the story pertains to Pope Francis’ invitation to all choirs and singers around the world “to promote the Church community’s participation and prayer during liturgical celebrations, rather than replacing its voice.”
During the 3rd International Meeting of Choirs held on Nov. 23-25, 2023 at the Paul VI Hall, Pope Francis recognized the choir and singers as the musical animators of the whole congregation, and called their music and songs as “truly an instrument of evangelization.”
At the same time, the Pope warned them not to be tempted to let their musical talents outshine the community, and in the process discouraging the churchgoers from participating actively during the Mass.
Pope Francis’ reminder couldn’t have come at a more perfect time. Of late, I have observed that some choirs have been slowly turning their singing in the Mass into a one giant musical performance, sans the blinding lights and cheering crowd. Some event singers have also been irritatingly making church weddings into their personal concert or a contest audition straight from Tawag ng Tanghalan, minus the gong and the judges’ comments.
Sometime in November last year, I attended the Mass of a very good friend’s son. The two local singers invited to sing during the reception also sang during the Mass, from the entrance song to the post-wedding photo-ops. I swear, the moment the pair delivered their first note I was in utter disbelief as I felt they were trying to take the limelight away from the couple and the wedding itself. Even when the rest of the congregation could have joined them in singing communal songs like the Kyrie, Alleluia, Offertory, Sanctus and Lamb of God, they chose to sing songs that were only familiar to them. Worse, they sang them in a key that only the likes of Regine Velasquez and Jed Madela could reach effortlessly.
When they sang the Lord’s Prayer ala Andrea Bocelli and Celine Dion, I became totally uncomfortable, distracted and restless, wanting to end the agonizing experience the soonest. During the communion part, the female singer sang an otherwise popular, familiar and easy-to-follow song into her Katrina Velarde moment, complete with the runs and whistle tone. I swear I saw the officiating priest cringe in disbelief and dismay at her performance.
Needless to say, during the photo-ops after the Mass, they belted one song after another, oblivious of the fact that the rest of the guests were already annoyed by their theatrics. I found out later that the officiating priest actually talked to the duo immediately after the recessional song. In the nicest of words and in the most diplomatic approach, he reminded them that it was the couples’ most awaited moment in their lives, and that their singing was only meant to make the liturgy more solemn and heartfelt for all the attendees. They were never the main attraction and they were not there to provide any entertainment since the Mass didn’t need any.
As an active member of our parish’s music ministry, I look forward to the day when we are able to encourage the congregation to sing with the choir, and for our music to become a truly unifying instrument. As for all the choirs, whether young or old, well-established or still struggling, I hope they can take their cue from Pope Francis. They should do everything in their power so that their music could “make the Gospel efficacious in today’s world, through a beauty that still captivates and makes it possible to believe, entrusting ourselves to the love of the Father.”
