Don't forget about institutional subscriptions. If you're a student or staff at a university, your institution might have access to platforms like OverDrive Academic or Audible for Institutions. It's a long shot for the general public, but a hidden legal avenue.
The catalogs are often tailored for curriculum, but classic literature like Christie is usually included. Ask your campus library about digital media resources. It's how I got through grad school with audiobooks.
I just checked my library app, and it lists Dan Stevens as the narrator. He's become quite the go-to for certain types of classic and genre fiction, hasn't he? From 'Murder on the Orient Express' to 'Frankenstein'. His vocal control is impressive. In 'Styles', he subtly shifts the tone during the courtroom scenes versus the more intimate drawing-room interrogations. It's not just reading; it's a performance. That level of detail is what makes re-listening worthwhile. You pick up on little clues in his delivery that you might have missed on the page. A solid five-star narration in my book.
Check the publisher. AudioGO, BBC, HarperAudio, Blackstone—these are big names that usually do things right. If it's from a no-name studio or says 'value edition,' maybe dig deeper. For a classic like this, the quality recordings tend to be the full text. I remember the audio version I had included the author's foreword, which is a good sign they weren't cutting content.
For a book written in 1920, the audiobook treatment feels incredibly modern in its approach to engagement. It doesn't treat the listener like a passive recipient. It treats us like Poirot's silent partner. We get the same data Hastings gets, via our ears instead of his. The genius is in the narration's neutrality; it doesn't guide you toward the red herrings or away from the true clues. It just presents everything, and the burden of pattern recognition is entirely on you.