La fedeltà premiata and the other works in Doráti's Haydn cycle were only taped after Philips's producer, Erik Smith, had secured support from the European Broadcasting Union.

After a long preamble sketching La fedeltà premiata's storyline and acknowledging the opera's dramatic and musical limitations, he praised the album for its strong cast and committed performances.

Ileana Cotrubas was "delicious", her Act 1 aria "a joy, sweetly phrased, staccato and legato singing neatly contrasted".

Frederica von Stade sang with power and a tight focus, "quite properly doing [her] mock-heroic music in genuinely heroic style".

Rich conceded, though, that the opera did contain at least some interesting music and "some lithe, elegant, melodic writing", and he praised the singing of Ileana Cotrubas and Frederica von Stade as "sumptuous".

Luigi Alva was "on top form", Ileana Cotrubas was "enchantingly frivolous" and Frederica von Stade was "pungent and brilliant".

The soloists' only peccadillos were an irritating beat in Lucia Valentini Terrani's voice and Tonny Landy's failure to invest his words with sufficient meaning.

Reviewing the album together with its seven companions in Doráti's box set of Haydn operas, he summed up the collection as providing a "very high standard of performance of music that is not only immensely demanding of the artists but extremely attractive to the listener".

It was illustrated with images of Haydn and the title page of a libretto printed for his opera's première, and with production photographs of Alva, Cotrubas, Doráti, Landy, Lövaas, Mazzieri, von Stade, Valentini Terrani and Titus taken by Klaus Hennich.