It is something of a fancy for Gilles de Talhouët to describe this as an imaginary chamber opera, for the various settings do not coalesce into a convincing narrative. Moreover, the flute is far from invisible, dominating much of the collection, although it is Debussy’s Six Epigraphes antiques, in the piano version, which form the framework for the programme. It is indeed an enticing one, with music inspired by Victor Hugo’s poem Viens! une flûte invisible set by composers as diverse as Saint-Saëns (whose two examples are delightful, particularly the closing duet, Viens!), Benjamin Godard, Roussel (Rossignol mon mignon) and Caplet (two more highlights). Debussy’s Chansons de Bilitis, too, are beautifully sung by Sandrine Piau, and Hervé Lamy is at his finest throughout. The flautist, Gilles de Talhouët, who presumably inspired the collection, plays Debussy’s Syrinx exquisitely, and Arthur Schoonderwoerd, using an authetic 1907 Erard piano, presents the Epigraphes subtly and seductively. Excellent recording and elaborate documentation, including translations. Not perhaps for everyone; but those who enjoy the flute and French mélodie will surely be tempted.