There will be a fundraising party in Jersey City to help finance the choir Cantantes in Cordibus, which sings every Sunday at the Latin Mass at Our Lady of Sorrows in Jersey City.

Gracchus

An Opera of Civic Redemption

Music by David Hughes

Libretto by Richard Munkelt

World Premiere, August 19, 2023, Stamford, CT

I have had the chance to review on St. Hugh of Cluny many books, some lectures and exhibitions and even a few movies. But for the first time I am reviewing a new opera: Gracchus. Its world premiere was last Saturday. A considerable audience showed up for the event;  a who’s who of Catholic conservatism and traditionalism in the New York area. For both the composer David Hughes and the librettist Fr. Richard Munkelt have been leaders for many years in traditionalist circles.

The most extraordinary thing about this evening was that a new work of this kind was introduced and came off so well.  For Gracchus was in no way an amateurish effort. The stage direction, the conducting, the dancing and the singing were on a very professional level. Now and then there were even clever stage and special effects.  It was a coherent theatrical experience.

It was audacious for the composer and librettist to persevere in creating and staging this opera –  and not just because their resources were limited.  We are dealing, after all,  with an art form that is virtually dead.  Yes, the Metropolitan Opera and a couple of other institutions sponsor new operas now and then –  but this is more going through the motions. The genre of opera reflects a musical,  a dramatic and even a social culture that has long ceased to exist. In the case of a new opera,  there is no solid performance tradition to fall back on. So, to dare to create a new work under such circumstances is doubly remarkable.

David Hughes’s music initially seemed to reflect a “modernistic” style I assume resembles that of mid- twentieth century operas. But as the opera progressed the composer drew on all kinds of other influences – everything from Broadway shows to movie music to baroque oratorios. This progression also seemed to reflect the increasing coherence and dramatic focus of the work as the evening progressed. Richard Munkelt’s intellectually dense libretto employed a kind of Shakespearean diction. At various times, however,  I discerned quotations and reflections taken from other English authors and the Bible – and now and then also Latin text (Virgil?)

Now those of us who remember our Roman history know that, towards the end of the 2nd century BC, the brothers Tiberius and Gaius Gracchus fought for reforms (especially of land ownership). For those efforts they met violent deaths. The opera Gracchus deals with Gaius Gracchus: his personal struggles, his decision to resume the reform efforts of his murdered brother and finally his confrontation on behalf of the people with the corrupt wealthy who controlled the Roman commonwealth at that time.

What is the moral of this?  Gracchus is the story of a man who overcomes his drinking,  his marital problems and his philosophical daydreams to take up the moral obligation of action. And as a part of this process of accepting his destiny,  Gracchus and his estranged wife must reconcile and seek the blessing and intercession of a virgin deity (Diana). At the end, however, the forces of a corrupt hedonistic oligarchy, promising freedom and pleasure, achieve a temporary triumph over both Gracchus and his wife.  Could this even be a disguised commentary on Donald Trump and the events of January 6, 2021 and the ensuing response of the establishment?  Perhaps that is too facile!

Of course,  we could criticize the one or other aspect of this opera. At four hours in length, with two short intermissions, it was on the long side. The opera itself  – and the performances of the singers  – seemed at times undecided between the style of a music drama and that of an oratorio.  And as is so often the case in movies,  it is harder to create a totally convincing hero, a “good” man, than a villain. But this world premiere was in Connecticut, like in the good old days of Broadway.  Given its strengths,  I would expect that any imperfections will have been weeded out before Gracchus has its New York run! It is, after all, a story that needs to be heard. 

.

This news from the producers of Gracchus:

The opera GRACCHUS is now in rehearsals, and the world premiere is later this month.  On Tuesday this week, the cast of the opera sang through the opera in its entirety, and yesterday we began detailed musical and dramatic rehearsals of each scene.  Hearing and seeing these characters come to life, thanks to the talents of our extraordinary cast, is nothing short of thrilling.

Interest in the opera and the August 19th performance continues to grow, so please buy your tickets now if you have not already done so!  There are no bad seats in the Palace Theatre, but most of the best ones are already sold out.

The world premiere of a new opera entitled Gracchus will be presented at the Palace Theatre in Stamford, Connecticut, at 4 p.m., August 19, 2023. 

Gracchus is described as an opera of civic redemption, with Christian allegory, set in second century‒B.C. Rome.

The opera was composed by Mr. David Hughes, the libretto being the work of Rev. Fr. Richard Munkelt. Fr. Munkelt is a diocesan priest in residence at Saint Anthony’s Chapel in West Orange, New Jersey. Mr. Hughes serves as Music Director at Saint Patrick’s Oratory in Waterbury, Connecticut. Both parishes, administered by the Institute of Christ the King Sovereign Priest, are dedicated to providing the traditional sacraments to the Catholic faithful. Please consider purchasing tickets to what is sure to be a very special opportunity and supporting the creative work of those who have given so much of their lives to the Latin Mass Community. Tickets can be purchased, and more information found, on their website at gracchusopera.com. 

`

This Pentecost weekend the Traditional Paris-Chartres pilgrimage takes place. This year we read of a record number of pilgrims – some 16,000 (excluding those who are not actually walking the pilgrimage trail). So many, in fact, that days ago registration needed to be closed (an unprecedented step!). Instead of one American chapter, this year there are several. Let us remember that, on this same weekend, the FSSPX leads a similar but smaller pilgrimage from Chartres to Paris.

For the Paris-Chartres Pilgrimage, these numbers would be extraordinary in ordinary times. But these times are not ordinary. For the Pope since 2021 has been conducting a war against the Catholic Traditionist movement. He seeks to exclude Traditionalists from the Catholic community – to isolate, humiliate and eventually eliminate them. As far as Pope Francis and his entourage are concerned, there can be no more talk of liturgical peace, of the coexistence of the old and new rites. Yet, despite it all, a greater number of pilgrims than ever are now undertaking this arduous journey.  

I myself have made this pilgrimage six times.1) In the early 1990’s the “Pilgrimage of Christendom” was a revelation for me: Solemn High Masses, encountering men like Michael Davies, Gary Potter, John Rao or Michael Matt, the magnificent concluding liturgy in Chartres Cathedral and above all the experience of living, singing and praying for three days among so many fellow traditionalists. 

As time went on some of the initial elan seemed to dissipate. The general structure of the pilgrimage exhibited remarkable continuity. But there were years where the number of participants stagnated, where instead of the earlier militant traditionalism with all its political ramifications efforts seemed to be more focused on securing good relations with the hierarchy, the papacy and even elements of the secular etablishment.  

By the early 2010’s these uncertainties of direction appeared to have been resolved. Perhaps this was attributable to Summorum Pontificum. By 2010-2012 the pilgrimage was more professionally managed than ever and was now welcomed in both Notre Dame de Paris and Chartres cathedrals (in the latter by the bishop himself). Bishops now celebrated the concluding liturgy in Chartres. As for the American contingent, what had once been a rather elderly group was now predominantly youthful like the vast majority of the European pilgrims. It seemed that a happy accommodation with the Church establishment had been finally achieved and a course of moderate growth by an upcoming generation assured. 

Then came Pope Francis, the Covid restrictions and Traditionis Custodes. The pilgrimage, however, survived it all and even flourished. After the Paris-Chartres pilgrimage had been suspended for two years, the local and regional chapters in France took to the streets instead. In 2022, the pilgrimage was resumed. Record numbers braved perhaps the worst weather any pilgrimage had ever experienced – but eventually battled their way through to their spiritual destination.2)

This weekend the largest group of pilgrims ever assembled begins its journey. Is the challenge of adversity needed to help the Traditionalists refocus on their roots, to rediscover what a precious gift they have been given in the Traditional liturgy? For once again the Pilgrimage of Our Lady of Christendom has become the calm, measured but militant public assertion of the Traditionalist cause. The pilgrimage has explicitly recommitted to the Traditional liturgy despite pressure from unnamed parties. The message is clear: Traditionalists are not going away! Moreover, the pilgrimage also remains absolutely committed to the restoration of “Christendom”: “the light of the Gospel projected on our countries, our families, our morality and our work.” (from the twitter account of Notre Dame de Chrétienté)

This year’s pilgrimage has attracted more attention than ever from the secular French media. And the masses at the opening and close of the pilgrimage will still be celebrated in St. Sulpice (substituting for Notre Dame de Paris during the latter’s reconstruction) and Chartres cathedral. 

I wish all the pilgrims well in the challenging yet rewarding days ahead! We will keep you in our prayers.

1. For complte coverage of several prior pilgrimages see: The 2010 Paris to Chartres Pilgrimage (last of a 4-Part Series) The Society of St Hugh of Cluny (5/31/2010); (The 2012 Chartres Pilgrimage – Conclusion (last of a 4-part report with photos) The Society of St Hugh of Cluny (6/1/ 2012)
2. “Numbers don’t Lie,” The Society of St. Hugh of Cluny (6/8/2022).