It was on this album that all of the Seekers' varied attributes – including Judith Durham's powerful vocals, the increasingly virtuoso-level playing (especially on the acoustic 12-string) and singing of Bruce Woodley, Athol Guy, and Keith Potger, and Woodley's burgeoning songwriting talent – kicked in at their peak at the same time. The album opens with the title track, a Woodley original that's one of the best folk-style recordings to come out of the British Invasion and also one of the Seekers' (and Durham's) greatest performances, hers and the others' voices, coupled with their acoustic guitars, evoking the sound of bells chiming.
Recorded in 1966, Robert Shaw's Grammy Award-winning performance of Handel's Messiah marks an important turning-point in this work's interpretation, clearly moving away from the ponderous, overly reverential style of early twentieth century renditions and pointing toward the leaner versions of the 1970s onwards, which follow Baroque-period practices. (…) Evenly divided between two discs, this recording of Messiah is complete, and it is preferred over RCA's 1992 excerpt album The Great Choruses from Messiah.
Superb… Szell shows the utmost sensitivity to every facet of the music… His interpretation is backed by flawless playing by the Cleveland Orchestra. – The Gramophone
Bellini’s penultimate opera – written for La Fenice, Venice, in 1833 – has never enjoyed the popularity of such works as La sonnambula, Norma and I puritani. Listening to this vintage Joan Sutherland recording dating from 1966, it is hard to fathom why. The story is strong and stirring – a sort of cross between Maria Stuarda and La Gioconda – and offers fine roles for the wronged titular heroine, her villainous husband Filippo, her platonic admirer Orombello and his would-be mistress, Agnese del Maino (a Princess Eboli avant la lettre). How odd that Sutherland never managed to persuade Covent Garden to mount it for her, especially with this glorious cast. The Decca set is historic because it offered the legendary Sutherland/Pavarotti collaboration for the first time on disc. Luciano is wonderfully stylish here, elegant and ringing: Nureyev, vocally-speaking, to Sutherland’s Fonteyn. La Stupenda was going through one of her ‘moony’, muddy-diction phases, but the vocalism is quite dazzling. It’s a joy to encounter Josephine Veasey in her only commercially recorded Italian role: velvet-toned, shining, she is Sutherland’s most lustrous mezzo rival in any bel canto recording. (BBC MUSIC MAGAZINE)