Francis Opened Discussions to Those Outside the Church Hierarchy. This Cardinal Would, Too

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Only about a half-million people live in Malta, the tiny set of islands in the Mediterranean that make up one of Europe’s smallest countries.

Yet a Maltese citizen could soon be elected pope.

Cardinal Mario Grech, 68, the former bishop of a Maltese island, Gozo, has emerged as a candidate for pope because of his role as secretary-general of the Synod of Bishops, a Vatican body mandated by canon law to consider “questions pertaining to the activity of the Church in the world.”

Pope Francis, who died April 21, made the most recent synod much more inclusive and participatory, and Grech’s role in stewarding these efforts to open up the church stand in contrast to some of his own history. While he was bishop of Gozo, from 2005-20, he held conservative stances on several issues, including homosexuality and the legalization of divorce, which he opposed when Malta held a referendum in 2011.

He changed his tone under Francis, who made him a cardinal in 2020, and is seen as someone who would bring continuity to the papacy.

The synod began in 2021 with discussions among local churches around the world on issues they felt most pressing, a rare opening for all Catholics to help chart the church’s future.

The final results of the process are still to come. When the synod ended in 2024, many questions, including whether women could be ordained deacons, were relegated to separate study groups.

In mid-March, with Francis’ approval, Grech announced the process would continue until 2028 and end with an assembly involving various levels of the church.

If Grech became pope, those discussions would undoubtedly go on. Some critics of the process, including traditionalists who defend an all-male clerical hierarchy, fear it could dilute the authority of the pope and bishops. Others have questioned how representative the synod has actually been of Catholics, with only a tiny percentage of the nearly 1.4 billion worldwide having participated in meetings.

But synod supporters say it is the only way the church can stay relevant.

The synod’s future and implementation “will be crucial for the Catholic Church,” which must become “more participatory and inclusive,” said Helena Jeppesen-Spuhler, who works for a Swiss Catholic relief agency and was a synod participant.

Failure to enact real change, she said, could be lethal for the church, at least in Central Europe. “If there are no changes, it will be really challenging, and I think the cardinals are aware of this,” she said.

As secretary-general of the synod, Grech emerged as a key figure in that process. There are 133 cardinals who can vote at the synod. About 60 of those cardinals were present during at least one of the synod’s monthlong discussions in 2023 and 2024 at the Vatican, meaning that in a College of Cardinals where many of them don’t know one another because they are geographically distant, his role has made him a familiar face to many.

Grech has also taken up global causes that were close to Francis. Malta is a key point of entry in the Mediterranean for migrants arriving from Africa, and Grech has called on Europe to open its doors, not close them. When the war broke out in Ukraine in 2022, he raised alarms that fleeing Ukrainian women and children were at risk of being exploited by human traffickers.

Like other senior church leaders over the past 20 years, Grech has been accused by some of not doing enough to reckon with sexual abuse that took place in his diocese. He is one of the cardinals singled out on the website Conclave Watch, which scrutinizes how some cardinals handled abuse cases.

As bishop, he began several initiatives to confront abuse, including a commission for protecting children and vulnerable adults. But his critics say he could have done more in specific cases.

Some of the allegations in Malta center on Lourdes Home, an orphanage run by the Dominican Sisters of Malta on Gozo. The church commissioned an inquiry into the orphanage, which closed in 2008, and it apologized that year. Pope Benedict XVI met privately with some survivors in 2010.

Lara Dimitrijevic, a lawyer who represents two survivors in a constitutional case against the state being heard in Maltese court, said the church should have done more for victims, including offering psychological counseling.

“There has been such severe trauma that these mothers in their 50s are still suffering today,” she said, calling the abuse “vile.”

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One of her clients in the lawsuit, Carmen Muscat, 52, said she was not satisfied with the role played by Grech, and wanted compensation. “We didn’t get justice, and it’s not fair,” she said.

Grech did not immediately respond to a request for comment.

This article originally appeared in The New York Times.

Opera review: How does the inane ‘Barber of Seville’ become transcendent?

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One question that arises from Minnesota Opera’s production of Gioachino Rossini’s “The Barber of Seville”: how did such an inane story become so embedded in the consciousness of Western culture?

Musical themes from the opera appear in so many movies, TV shows, and commercials — from Looney Tunes to Seinfeld to Doritos commercials, it’s probably got some of the most recognizable music ever, and yet, the plot of the opera is unmemorable. It’s a credit to Rossini’s genius that the opera’s music remains ubiquitous in our cultural soundtrack.

It probably made for riotous comedy back when the opera first premiered in 1816. Count Almaviva, having fallen in love with a young lady named Rosina in Seville, disguises himself as a poor student so she’ll see him for more than his money and status. Rosina is the ward of the awful Doctor Bartolo who wants to marry her himself, and the count employs his old servant Figaro— who happens to be a barber— to help get past the Doctor and into Rosina’s heart. Many antics ensue.

One of the best parts of the opera takes place before any performers are seen onstage. The audience takes in the overture while looking at Allen Moyer’s set design showing a painted backdrop of red curtains contained within a proscenium arch as well as chandeliers that are lifted up at the end of the music.

The Minnesota Opera Orchestra, conducted by principal conductor Christopher Franklin, performs the innovative overture superbly. Rossini had a talent for creating thrilling contrasts of weight and lightness that make for a wholly absorbing piece of entertainment.

Throughout the opera, Moyer’s set design reveals ornate scenes, from a town square in the beginning to various rooms within the home of Doctor Bartolo. Often, Moyer used layers of drops to create perspective, even as the style of the paintings themselves are quite flat. They are focused more on decorative elements than creating something that looks realistic .

Matthew Anchel, from left, Katherine Henly, Kara Morgan, Stefan Egerstrom, and Lunga Eric Hallam in the Minnesota Opera’s production of “The Barber of Seville,” which runs May 3-18, 2025 at the Ordway Center for the Performing Arts in St. Paul. (Cory Weaver / Minnesota Opera)

The same could be said for Chuck Hudson’s stage direction. He takes a very theatrical approach, going for large, physical gestures rather than subtle expressions.

As an example, when Count Almaviva (played by Lunga Eric Hallam opening night in the double cast production) tries to serenade Rosina (played by Katherine Beck on opening night), he makes little attempt to make it seem like he’s actually playing the guitar he’s holding. It’s the sentiment he portrays — a man in love — that becomes what is transmitted to the audience, not the mechanics of his guitar fingering. Later, Almaviva pretends to be a piano teacher in order to see his love, and in that case, Hallam makes a joke of being surprised by the orchestral sound his harpsichord seems to make (which is actually coming from the orchestra pit).

Playing Figaro on opening night, Takaoki Onishi handles the physicality of the role well, and stops the show with the famous “Largo al factotum” aria, where he sings his name repeatedly and engages in quick patter singing.

Another crowd pleaser is Stefan Egerstrom as Don Basilio, the conniving sycophant. With his long black wig designed by Emma Gustafson, enormous black hat (in a delightfully morbid costume designed by Mathew J. LeFebvre) and deadpan delivery, Egerstrom is a hoot.

As Count Almaviva, Hallam taps into his character’s lovestruck air admirably, and sounds especially good when blending his voice with the lovely Katherine Beck, as Rosina. Throughout the opera, Rossini throws in wonderful fast-paced articulations and comedic zingers, but Rosina and Almaviva’s love duets add a sweet romantic touch.

The world is quite different today than it was in 1816, and some of the comedic elements don’t read for a modern audience, but the music endures, and this bright and boisterous production delivers on that score.

If you go

What: The Barber of Seville
When: 7:30 p.m. Thu., May 8 and Sat., May 10; 2 p.m. Sunday, May 11; 7:30 p.m. Sat., May 17; 2 p.m. Sun., May 18
Where: The Ordway, 345 Washington St. Saint Paul
Tickets: $25-$263 at mnopera.org.
Accessibility: Elevators access all floors of Concert Hall, accessibility seating for all mobility devices (request when buying tickets); service animals welcome (inform ticket representative); listening units and large print available upon request. One single occupancy, accessible restroom in the Music Theater lobby. Ordway.org/visit/accessibility.
Capsule: Minnesota Opera’s bright and boisterous production shows off Gioachino Rossini’s catchy music.

Frost to open PWHL playoffs at Toronto

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The PWHL regular-season champion Montreal Victoire bucked the standings on Sunday in selecting to open the playoffs facing the third-place Ottawa Charge rather than the fourth-place Minnesota Frost.

In making the announcement, general manager Danièle Sauvageau said the team followed a process that included consulting with her staff and players. Sauvageau, otherwise, didn’t go into detail in choosing to face Ottawa  Minnesota.

“There was a lot of considerations that went into it, there wasn’t just one ingredient,” she said.

The best-of-five semifinals open Wednesday, with second-place Toronto hosting defending champion Frost. Montreal will open its postseason on Thursday against the Charge, who are making their first postseason appearance.

There was very little to differentiate between Ottawa and Minnesota, given the teams finished in a three-way tie with Boston in having 44 points. Boston finished fifth based on having fewer regulation wins.

Montreal finished the season series going 4-2 against both Ottawa and Minnesota — though the Charge won the final two outings, including a 3-2 victory on April 26.

Since its launch in 2024, the six-team league adopted a rule in which the first-place team chooses whether to play the third- or fourth-place team rather than following the standings order.

Last year, Toronto finished first and went with the 1 vs. 4 matchup in selecting Minnesota as its first-round opponent. The Frost rallied from a 2-0 series deficit to eliminate the Sceptres before going on to claim the first Walter Cup in winning a five-game series over Boston.

The Victoire closed this season 4-4-2 and clinched first place on Saturday by virtue of Toronto’s 2-1 overtime loss to Ottawa.

Similar to how the PWHL’s inaugural regular season ended last year, the playoff race came down to the final day with Ottawa and Minnesota clinching the final two spots along with Montreal securing first place.

Ottawa secured its first playoff berth on Katerina Mrazova’s goal to seal the Charge’s 2-1 overtime win over Toronto. Minnesota clinched its berth while also eliminating Boston with an 8-1 win over the Fleet.

The New York Sirens finished last for a second straight season. The PWHL is expanding to eight teams next season with the additions of Vancouver and Seattle.

Kirill Kaprizov: contract talks with Wild, ‘should be all good.’

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After a season of great promise and great frustration, Minnesota Wild star Kirill Kaprizov said the one thing that will not be a part of his next few months is any additional surgery.

His fifth NHL season was limited to just 41 games due to a midseason lower body ailment that required an operation, but after being a serious candidate for league MVP before Christmas, he returned to post nine points in six playoff games. In the coming days or weeks, he will travel back to the small Russian village where he says he feels most comfortable, away from the spotlight that shines so brightly on him in the NHL.

The warmer months will be spent with friends playing video games, hanging out on the water and occasionally fishing – something Kaprizov admitted he has never done in Minnesota despite the state’s propensity of places to wet a line. While he is relaxing, more than one Wild fan will be waiting anxiously to see just what Kaprizov’s future in red and green may look like.

The Wild have exclusive rights to sign Kaprizov to a contract extension on July 1, before he would become an unrestricted free agent a year later. At the start of the recently-completed season, there was talk that Kaprizov could command $12 million or more per year. After what he did on the ice before turning 28 during the playoffs, that speculation has inflated to $15 million or more. His current contract pays $9 million per year.

None of those numbers are important to Kaprizov, he said on Sunday in his first postseason meeting with reporters. All of his contract matters are in the hands of agent Paul Theofanus and Wild general manager Bill Guerin.

“This is my agent job, (to) talk with Billy. But we will see,” said Kaprizov. “I love everything here. But (it) should be all good. I don’t know what to say.”

Even before Kaprizov’s early-season heroics, Wild owner Craig Leipold vowed in the preseason that no team would offer more money or years to the offensive wonder. For the player to say things should be “all good” with the Wild are encouraging words, but none of it matters until a contract is signed. In the meantime, he will be back in his small town home, living a kind of reclusive life which sounds similar to summertime in Bemidji or Brainerd or other small towns that Wild fans know well.

“Last year I just stayed home all the time. I don’t go anywhere. I don’t like it,” he said. “I like staying in my village, don’t see a lot of people, just stuff like this. It’s like, simple life there. Just do nothing. Just go with the friends, see friends, go practicing then go fishing or something, camping. Simple, simple. Stay with family. Maybe go vacation with family if my family want. But I don’t, I just want to stay home.”

He also said that Minnesota has become like a second home over the past five years. Wild fans are definitely hoping he wants to stay “home” when the contract extension offer comes.

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