莎士比亚经典悲剧中那自溺的姑娘古往今来曾经引发了多少诗人画家的感慨而今德国的NEO CLASSICS巨星OPHELIA'S DREAM用音乐将其重新演绎.这支97年被Oli发掘出的天音新古典组合明显是Hyperium旗下用以填补即将离去的STOALOVE IS COLDER THAN DEATH位置的接班人.Dietmar grenlich - 穷困潦倒靠在酒吧弹钢琴为生的艺术家突然之间成了德国著名黑暗公司力捧的新星,不能不说是个乞丐王子的奇迹.Oli为其找来Julia fiedje这位拥有奔放高音花腔的年轻女孩作为乐队的特邀主唱,并不惜巨资在Eudraum专有录音室请Weisser herbst的四位录音师及制作人打造OPHELIA'S DREAM的首张专辑ALL BEAUTY IS SAD,凄美浪漫的故事又一次征服了所有听众.ORKUS更是将乐队评为了当年最有传奇色彩的乐队.华丽的古典音乐编排与时而悲伤绝望时而小鸟倚人的正统学院女高音的配合简直是....惊叹!不得不感叹HYPERIUM在天音及新古典乐风上的造诣,其麾下涌现出了多少让人倾倒的组合厄.
但正所谓成也萧何,败也萧何.由于Oli的独裁以及HYPERIUM公司经营的换向.OPHELIA'S DREAM的新作品直到2000年才得以发行,这时候的Dietmar grenlich已经转投到Trinity发行集团的Sad Eyes旗下.新EP：Stabat Mater取材于意大利古典作曲家Giovanni Battista Pergolesi(1710-1736)的作品,OPHELIA'S DREAM重新演绎了它.与上张作品相比,Stabat Mater更是一张古典音乐作品,Dietmar已不甘心仅在GLASSIS-POP领域发展了,也许他渴望的是创作一些真正的古典音乐.
就这张专辑来讲，认为OPHELIA'S DREAM完全可以替代STOA离去后HYPERIUM天音/新古典体系中产生的空缺.专辑的第一首歌RISE一出手就改编自著名古典管风琴器乐段落.通篇的古典管弦乐编排和钢琴独奏在加上Julia那十分华丽的女高音,就是纯正的古典音乐么.看得出Dietmar与STOA的OLAF有同样的野心和梦想：用个人力量全面嫁接古典乐团的音乐神韵.13首歌曲中,声乐的分量不是很重,更多的是Dietmar那钢琴在管弦伴奏下的抒情演绎,不明白国人会对那种钢琴POP小品如痴如醉,却对这样的新古典作品视而不见?
这颗新古典殿堂的璀璨夺目的明珠于2002年再版的专集多加了他们珍贵的新作，依然非常富丽堂皇尊贵高雅，新古典的魅力被Ophelia''s Dream演绎得淋漓尽致，相当出彩！大型厚重的古典管风琴器乐段落，豪华的管弦乐段如水银泻地般地冲击着听者的听觉神经，别以为black l才能给你带来这样的震撼与快感，新古典也可以！学院派正统女高音Julia显示着其华丽高贵的气质，就如典雅的女皇缓缓步入铺砌黑色大理石的殿堂，女皇在诉说着一个凄美传奇的悲剧。钢琴solo相当有水准！如高山泉水般直泻、音符流动于那着魔的指尖之间，十分流畅同时也富有激情。惊叹于Dietmar grenlich的音乐才华，而Ophelia''s Dream同时也演绎着一幕传奇的新古典神话，为新古典的历史谱上金碧辉煌的一页，是新古典乐界的又一里程碑！

《ALL BEAUTY IS SAD》或許又是上個世紀的曇花一現，高興的是，新世紀伊始，即誕生了《STABAT MAT》EP，這是一張更為純粹的古典樂，相比《ALL BEAUTY IS SAD》的焰氣沖天，《STABAT MATER》更忠實于原作悲憫深沉的宗教救贖美感，放棄了戲劇化的激情，在弦樂、管風琴、古鋼琴的搭配中追尋回古典巴洛克時期音樂的典雅風范，霸氣的唱腔也不再出現。古典樂迷最貼切的評價或許就是“極端浪漫的改編”。 这张专辑的歌词就是歌名到下一首歌名之间的诗句。
Stabat Mater－圣母悼歌（拉丁文）: 1-8節 史實的陳述
1．Stabat Mater dolorosa, Juxta crucem lacrimosa, Dum pendebat Filius.
圣母痛苦侍立，含泪十字架旁，当圣子高高悬起时。
2．Cujus animam gementem, Contristatam et dolentem, Pertransivit gladius.
她心灵长叹，郁闷恸伤，被利刃所刺穿。
3．Quam tristis et afflicta, Fuit illa benedicta, Mater Unigeniti!
何等愁苦悲伤，那当受称扬者，独生圣子的母亲！
4．Quae moerebat et dolebat, Pia Mater dum videbat, Nati poenas inclyti.
凄楚感伤，慈母仰视，荣耀之子受难时。
5．Quis est homo qui non fleret, Matrem Christi si videret, In tanto supplicio?
谁能不一同号哭，看到基督之母，忍受这般痛楚？
6．Quis non posset contristari, Christi Matrem contemplari, Dolentem cum Filio?
谁能不满怀悲愁，瞻仰基督之母，与其子同忧共苦？
7．Pro peccatis suae gentis, Vidit Jesus in tormentis, Et flagellis subditum.
为了他子民的罪辜，仰视耶稣受苦辱，鞭迹杖痕无完肤。
8．Vidit suum dulcem natum, Moriendo desolatum, Dum emisit spiritum.
眼见自己亲爱生子，孤苦伶仃与世长辞，救主耶稣咽气时。
9-18節 對聖母的傾訴
9．Eia Mater, Fons amoris, Me sentire vim doloris, Fac, ut tecum lugeam.
啊，慈母，爱心之源，求你使我感受凄楚，好同你一起哀哭。
10．Fac ut Ardeat cor meum, In amando Chriatum Deum, Ut sibi complaceam.
使我内心燃起爱火，全力敬爱基督天竺，一生常能取悦主。
11．Sancta Mater, istud agas, Crucifixi fige plagas. Cordi meo valide.
恳求圣母广施慈恩，将你圣子苦架伤痕，强力铭刻在我心。
12．Tui nati vulnerati, Tam dignati pro me pati, Poenas mecum divide.
将你变身受伤之子。为我罪人所受苦难，分我一份共承担。
13．Fac me tecum pie flere, Crucifixo condolere, Donec ego vixero.
教我同你一齐痛苦，并与耶稣共分凄楚，在我有生岁月中。
14．Juxta crucem tecum stare, Et me tibi sociare, In plantu desidero.
与你共同侍立苦架，教我站立在你身旁，是我含泪所期望。
15．Virgo virginum praeclara, Mihi jam non sisi amara, Fac me tecum plangere.
童贞女中最卓越者，我的心愿请勿拒绝，是我与你共哀嗟。
16．Fac ut portem Christi mortem, Passionis fac consortem, Et plagas recolere.
教我担负基督之死，做他苦难中的良伴，所受创伤永怀念。
17．Fac me plagis vulnerari, Fac me cruce inebriari, Et cruore Filii.
是我感受他的伤痛，沉醉在他十字架下，共受圣子的酷刑。
18．Flammis ne urar succensus, Per te, Virgo, sim defensus, In die judicii.
免我身被水火焚炙，赐我蒙受慈母恩护，在我接受审判日。
19-20節 向聖子祈禱
19．Christe, cum sit hinc exire, Da per Matrem me venire, Ad palmam victoriae.
基督，我离此尘世，赐我倚恃慈母慈恩，到达胜利的光荣。
20．Quando corpus morietur, Fac ut animae donetur, Paradisi gloria. Amen.
在我肉躯亡故之日，使我灵魂蒙受恩赐，获享天堂的荣福，阿门。

The long absence of Stoa from the musical world has been glaring since they left Hyperium Records in 1997. It also does not help that they have not released an album since 1995 with "Porta VIII" (a re-release is expected shortly).
Cut to 2002 and Olaf Parusel has re-emerged under the banner of the brilliant band which is Stoa. This is worth owning more than any number of the so-called "neo-classic" samplers which have exploited this style which creation Stoa was part of in the early nineties. Along with bands such as Ophelia's Dream, Anchorage and Love Is Colder Than Death, Stoa was part of Hyperium's elite in terms of this style. The pairing of synthetic instruments with classical arrangements is what neo-classic is all about and these bands, led by Stoa brought into the world a wonderous new style; truly a classical approach without any of the dreaded world music influences which later derailed pioneers Dead Can Dance.
The classic style of Stoa flourishes beautifully on this new album. Masterful string arrangements abound and are accompanied by some scorchingly astounding vocals by Antje Buchheiser. Add to this some sombre oboe work and crystalline cello playing and you have an album which will reduce you to a torrent of emotional jelly.
There is one thing and one thing only which angers me about this album, of the eleven tracks, only eight are new. The other three have been issued on compilations over the past eight years. It is for that reason they only get a seven.
This disc is a fine return to form for Stoa and I really hope they don't take so bloody long with the next one.

Urthona
In the mythological writings of William Blake, Urthona is one of the four Zoas, who were created when Albion, the primordial man, was divided fourfold. Specifically, he is the Zoa of inspiration and creativity. His female counterpart is Enitharmon. Urthona usually appears in his 'fallen' form, that of Los.