[2] Glass had indicated his intent to write this third work as early as 1997, when he told the Los Angeles Times that he had discussed approaches to its composition with Bowie.
[3] The premiere was greeted with positive reviews in the Los Angeles Times, with soloist Angélique Kidjo praised for "illuminating on every level"[4] the lyrics of David Bowie.
The premiere in London at the Royal Festival Hall was positively reviewed by the Financial Times complimenting Angelique Kidjo's performance: "With a husky, Marlene Dietrich-style low end, she was a bracingly expressionist presence, reimagining Bowie’s surrealistic verses as Weimar cabaret.
"[6] Bachtrack gave a favorable review also: "Glass wrote the work with the formidable voice and presence of Kidjo in mind, and she gave a performance of deep presence and strength, her voice beginning in a purposeful, chromatic drone that followed Glass’ chromatic lines, but drawing the audience in a journey of gradual expansion and emotion as the symphony progressed.
The music itself is lush and formidable, overlaid by the presence of the Royal Festival Hall’s imposing organ which acts as a forceful parent to the orchestra.