I have renewed my enthusiasm for the musical side of the Davis recording by hearing it on CD, where one can appreciate even more arrestingly the beauty of the Dresden orchestra's playing, the sincerity and personality of Price (marvellous ''Die Wahrheit'') and Schreier, the gentle humour of Melbye (I can't understand the cool reviews he has received in some quarters), and the care taken over the recording—I now notice the quite subtle movement of the principals around the 'stereo' stage. I also find Davis's slow tempos wholly convincing in terms of his very thoughtful view of the work. The clarity and presence of this CD version is beyond praise, although it still doesn't reconcile me to the treatment of the dialogue. But even that disability would not make me prefer the rival Karajan/DG set, simply because the Karajan, which sounds beautiful on CD, doesn't evoke the same sense of affection for the work. As ever, he moulds the music carefully and sensuously, but it is as if one was attending a reverent concert account of the opera. Nor is his cast, by and large, as accomplished as Davis's. I like Hornik's Papageno, though he doesn't surpass Melbye in humour or charm, and Mathis is, in her very different way, as accomplished a Pamina as Price. For the rest, Davis's singers are superior. No doubt when the Haitink/HMV appears on CD, the competition will be greater—but the Davis version is one I am coming to like more and more.'