The premiere was greeted with positive reviews in the
Los Angeles Times, with soloist
Angélique Kidjo praised for "illuminating on every level" the lyrics of
David Bowie. The San Francisco Classical Voice was not so kind, calling the work "as overstuffed as a lumpy couch" and criticizing the choice of vocal soloist for the work. 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. She rose impressively to the demanding role."
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." ==Compositional technique==