St. Lucy’s Day Profaned: Swedish Choir’s Performance in Occupied Basilica
The Vatican News portal reports on a Swedish youth choir from Nordiska Musikgymnasiet performing “Lucia songs” during a December 11 Mass in St. Peter’s Basilica, ostensibly honoring St. Lucy ahead of her December 13 feast day. Choir members describe the experience as “amazing,” emphasizing the basilica’s acoustics while acknowledging Sweden’s secular character. Fabienne Glader states that even non-religious Swedes admire St. Lucy as “a wonderful person,” while conductor Casimir Käfling references the tradition’s contrast between Nordic winter darkness and Lucy’s symbolic light. The article frames this as an innocent cultural celebration, omitting any substantial treatment of Lucy’s martyrdom or the theological gravity of her witness.
Sacrilege in Occupied Space
The performance occurs in what can only be termed an ecclesia captiva – a captive Church. The conciliar sect’s occupation of St. Peter’s Basilica renders it spiritually desolate, fulfilling Our Lord’s prophecy: “When you see the abomination of desolation standing in the holy place…” (Matthew 24:15). To stage folkloric exhibitions in this desecrated sanctuary – where the true Sacrifice has been replaced with Novus Ordo table gatherings – constitutes theatrical blasphemy. As Pius XI declared, Christ’s Kingship demands “that not only private individuals but also rulers and governments…publicly honor and obey Him” (Quas Primas, 1925). Instead, the basilica becomes a concert hall for post-Christian sentimentalism.
Martyrdom Reduced to Cultural Artifact
The article’s treatment of St. Lucy exemplifies the conciliar sect’s systematic evacuation of supernatural content from hagiography. Lucia’s martyrdom under Diocletian – her eyes gouged out after refusing marriage to a pagan – becomes reduced to a comforting fable about “hope and despair.” Alfio Tota’s description of the tradition provoking “joy and nostalgia” mirrors the Modernist heresy condemned by St. Pius X: “Revelation was merely man’s self-awareness of his relationship to God” (Lamentabili Sane, Proposition 20). Nowhere does the report mention that Lucy died in odium fidei, having proclaimed: “I am the bride of Christ.” Her witness is neutered into a celebration of subjective “courage” divorced from the Cross.
Swedish Apostasy as Liturgical Backdrop
The students’ acknowledgment of Sweden’s secularism – where only 2% of Lutherans attend church weekly – underscores the performance’s true nature: syncretistic theater for a post-Catholic audience. When Glader suggests Lucy can be admired “even if you’re not really religious,” she echoes Pius IX’s condemnation of those who “equate the Christian religion with false religions” (Syllabus of Errors, Proposition 16). The choir’s emotive focus on “light in darkness” deliberately obscures Lucy’s ultimatum to her persecutors: “You will never overcome the Spirit of God!” This naturalization of grace transforms liturgical commemoration into pagan solstice ritual.
Silence That Condemns
Most damning is the article’s omission of Lucy’s Eucharistic martyrdom. Historical accounts record that when authorities tried dragging her from the basilica, she became miraculously immovable – a supernatural affirmation of Christ’s Real Presence. Yet in this conciliar Mass staged in the same architectural space, no mention is made of her defense of the tabernacle. The silence screams apostasy, confirming the prophecy: “They have taken away my Lord, and I know not where they have laid him” (John 20:13). When Käfling describes conducting songs in the basilica as an “incredible honor,” he unknowingly participates in what St. John Chrysostom termed “the abomination of desolation in the holy place” – the replacement of sacrifice with spectacle.
Ecumenism’s Bitter Harvest
This saccharine display embodies the poisoned fruits of Vatican II’s ecumenical project. The choir – products of Lutheran Sweden – performs hybridized “Lucia songs” developed during the 20th century’s secularization, stripped of their original Martyrologium Romanum context. This corresponds perfectly with the conciliar sect’s agenda, condemned in the False Fatima Apparitions analysis as opening “the way to religious relativism” and serving “to legitimize dialogue with schismatic Orthodoxy.” By welcoming Lutheranized performances into the desecrated basilica, the antipope’s regime confirms Pius IX’s warning against those who “place the Catholic religion on the same level as other false religions” (Syllabus, Proposition 15).
The True Light Extinguished
St. Lucy’s authentic legacy lies not in folk songs, but in her Eucharistic heroism and rejection of pagan compromise. As the Acta Sanctorum records, her final words before execution were: “I have desired You with all my heart; I have preferred nothing to You!” This total consecration contrasts violently with the conciliar sect’s staged events celebrating cultural Christianity. Until Rome’s occupiers are expelled and Christ’s Social Kingship proclaimed anew through Quas Primas‘ imperatives, such profanations will continue. Let true Catholics honor Lucy through her Passio – not Nordic songs in a captive basilica – praying: “Sancta Lucia, ora pro nobis et libera nos ab haeresibus concilii!”
Source:
Swedish choir honors St. Lucy with songs in St. Peter’s Basilica (catholicnewsagency.com)
Date: 13.12.2025