"[12] Robert Christgau noted that she "never stretches her rich, Ella-like highs into a scat—though the few midtempo numbers have a nice jazzy lilt ... her instincts are exceedingly solemn.

"[17] Rolling Stone stated: "The ancient and the modern, the secular and the sacred seamlessly mingle in this document of Brazilian musical forms.

"[20] Miami New Times deemed the album "a simultaneously somber and uplifting cycle of songs focused on the African experience in Brazil.

"[21] The New York Times concluded that "the record is both modern and roots-conscious in the best ways that Brazilians know how to be: it swings from Roman Catholic church music to carnaval sambas, ancient Afro-Brazilian drum patterns to sophisticated wind-and-string arrangements, all sculpted with delicate care.

[23] AllMusic wrote that Rodrigues's "first major recording succeeds in juxtaposing her ability to carry both lilting Brazilian rhythms and slow harmonious melodies.