And for an encore, Paolo di Canio runs onstage and gives a fascist salute

From the Web site of the Mexican American Symphony Orchestra

"Last night the Mexican-American Symphony Orchestra had its debut concert at Town Hall as the swan song of the Mexico Now festival, a series of concerts, screenings, and performances showcasing the cultural vibrancy of contemporary Mexican artists. The newly formed orchestra presented an all-Mexican program of 20th-century works: Danzón 2 by Arturo Márquez, Clepsydra by renowned contemporary composer Mario Lavista, the U.S. premiere of Enrico Chapela’s soccer-inspired symphonic poem Íngesu, Silvestre Revueltas’ masterpiece Sensemayá, and the world-premiere of La Promesa Del Guerrero for Violin, Tenor, and orchestra by Ernesto Villa-Lobos.

The orchestra’s music director and conductor, the very young and very talented Alondra de la Parra, led passionately and confidently. Her youthful appearance belies a facility that only the most musically mature can claim. Her presence, at once commanding and comforting, made it easy for orchestra and audience both to invest their full attention for the duration of the concert. The program she chose did not distract or disappoint either. The Marquez Danzon 2 was fierce and lyrical by turns, albeit a bit repetitive for my taste. Clepsydra, by Mario Lavista (who’s music was a happy discovery for me last night), inhabited the dreamy world of gesture that only music can convey. The textures were delicate and the colors kaleidoscopic and Ms. de la Parra and the orchestra painted the picture exquisitely.

By far the most entertaining piece of the night (in the theatrical sense) was Enrico Chapela’s Ínguesu, which translates roughly as “drats!” The orchestra donned soccer jerseys, and Ms. de la Parra emerged from the wings clad as a referee, whistle and all. The piece re-enacts, play by play (in hyper-condensed time) and complete with a well-timed and artfully projected scoreboard behind the orchestra, the 1999 FIFA Confederation Cup match between Brazil and Mexico, the woodwinds representing Mexico and the brass representing Brazil. The strings were the crowd, which in a Mexican soccer stadium are rather vocal about their opinions. Chapela’s themes were taken from the various chants and jeers one would hear at a soccer match, all of which are very familiar to Mexicans and none of which are extraordinarily polite. It was a delight to see the audience alert to these moments of familiarity. Despite all the antics, or rather in addition to them, the piece was well crafted, energetic, and captivating. Mr. Chapela said, “I just want people to have as much fun listening to the music as I have imagining it. Classical music is too caught up in being ‘serious.’ But you don’t work music, you play it!”

FYI: The final score was 4-3 to Mexico.