Because she's sort of the guest-who-won't-leave, it's easy to forget how spectacular Sills was: absolutely fluid in passage-work at any speed, a trill to die for (though it invariably, and oddly, starts on the wrong note), solid up to an E-flat, no fear of chest voice (the finale of Anna Bolena is very potent), capable of glorious, sustained pianissimo singing (in Manon, Louise, the "Vilja" lied, and Elisabetta's first-act aria), dead-on staccatos (as Linda di Chamounix and the Hoffman Doll), and glorious legato (the Daphne final scene is riveting). Her tone might have been slim and a bit wiry, but dramatically she could easily transform herself with her phrasing and attitude. This is a great collection, and if you don't own the sets from which it's taken (and don't want to commit to such an expense), do yourself a favor and buy this.