It came with a 20-page insert booklet that included no texts or translations but provided a detailed track listing, an essay on the concert and seven photographs taken during the performance. In 2016 Sony reissued the album with a 52-page booklet in their 18-CD collection "Frederica von Stade: The Complete Columbia Recital Albums" (catalogue number 88875183412). John J. O'Connor reviewed the concert in a television column in "The New York Times" on 11 December 1991. He had mixed feelings about the producers' choice of music, some of which he thought hackneyed. "Am I the only person in New York", he asked, "who, after sitting through hundreds of ornate renditions, finds 'The 12 Days of Christmas' numbingly tedious?" He was more complimentary about the calypso-infused 'Mary's Little Boy Chile' and a sequence of traditional American Marian numbers, as well as rousing ensemble versions of 'Go Tell It on the Mountain' and 'Angels We Have Heard On High'. He conceded that Previn's conducting and the concert's specially commissioned arrangements made some old chestnuts sound new again. Battle, in puff-ball-sleeved scarlet, was "quite dazzling in her upper registers and gets there often enough to make sure no one forgets it". Von Stade, sheathed in glittering emerald, was more expressive in her hymns than in her spirituals. Wynton Marsalis punctuated proceedings with his trumpet's "soulful wailings". The standing ovation at the end of the concert was well earned. The English classical vocal critic J. B. Steane reviewed the CD edition of the concert in "Gramophone" in December 1992. He mocked the album's choice of compositions and arrangements, noting that 'The Twelve Days of Christmas' included a fragment of 'Ist ein Traum' from "Der Rosenkavalier", that Reger's lullaby sounded like a duet that Strauss's Sophie and Octavian might have sung at their first Christmas together and that 'Silent Night' had been given a "smoochy accompaniment" which at times sounded as though it had been devised for another song altogether. For the performers, on the other hand, he had nothing but praise, applauding Battle's "unflawed purity of tone", von Stade's "characteristic warmth", Marsalis's eloquent trumpet, the cool expertise of his Septet and the geniality of Previn on the podium.