[fvplayer id=»6″]
Grace for the World: 3 unforgettable scenes in San Pedro
Grace for the World: Vatican Concert, programming and streaming
The production was a deliberate mix of genres: pop, gospel, classical, and Afro-Caribbean rhythms shared the same lineup. The organizers screened the evening on global platforms—Disney+, Hulu, and ABC News Live—and made the performance available on a delayed basis for audiences outside Rome.
The broadcast transformed a local ceremony into a global event, with cameras that captured every gesture and choral climax on thousands of screens, and with a technical display tailored to audiences with diverse cultural consumption habits.
Grace for the World: Karol G's symbolic debut and Latin American reception
Karol G was one of the figures who captured the emotional impact of the evening. She opened her set with an intimate piece from her repertoire, demonstrating her ability to adapt to the solemn setting and connecting with a predominantly Latin American audience who enthusiastically received her.
For a large part of the migrant audience, the Colombian artist's presence felt relatable: not only for her music, but for what her visibility represents in a setting as symbolic as St. Peter's Square .
Grace for the World: Andrea Bocelli and the artistic direction
Andrea Bocelli combined his role as performer with artistic direction responsibilities, participating in repertoire selection and dress rehearsals. His voice provided the necessary lyrical bridge for the program to include anthems, arias, and collaborations with artists from other genres.
The coexistence of Bocelli's lyrical style with the pop universe of other performers was a curatorial challenge: allowing the cultured and the popular to interact without obvious hierarchies.
Grace for the World: Human Fraternity as an Institutional Framework
The concert was held as the institutional closing of the World Meeting on Human Fraternity and was linked to the agenda of the 2025 Jubilee, according to the organizers. Vatican officials and representatives of various faiths accompanied the event, which combined a religious message with a cultural focus.
Grace for the World: Production, drones and visual editing
The technical presentation was one of the highlights: more than 3,000 drones flew over Rome to project motifs inspired by the Sistine Chapel and, at one point, an image evoking the figure of the Pope. The aerial display, curated by Nova Sky Stories, articulated a visual narrative that closed the evening with a powerful symbolic gesture.
At the same time, the lighting and set design sought to combine artistic heritage with contemporary resources to generate scenes designed for both the plaza and the screen.
Grace for the World: Choirs, Repertoire, and International Collaborations
The Choir of the Diocese of Rome joined an international choir of several hundred voices, providing the choral depth that balanced the solo performances. There were hymn-like moments—with versions of Ave Maria—and popular pieces, including a joint performance of "Vivo por ella" by Andrea Bocelli and Karol G, which was one of the most-repeated scenes on social media.
Pharrell Williams, John Legend, and Angélique Kidjo completed a lineup designed to represent four continents, in line with the event's inclusive focus.
At the institutional level, Cardinal Mauro Gambetti emphasized the rejection of war and the need to work for coexistence; the event reinforced this message with music and symbolic gestures. Reactions on social media mixed emotion and questions about the theatricality of the performance; overall, the coverage described the event as an attempt to use culture to build bridges in fragmented times.
Grace for the World posed a public question: can a major concert articulate an ethical and effective message for diverse audiences? The answer remains open, but the image of the lit square, the united voices, and the drone that closed the sky over Rome will remain as postcards of a commitment that sought to connect music and brotherhood.
