Since the early twentieth century, Hong Kong has always been an important venue for Cantonese opera development. After 1949, as a result of political turmoil in the Mainland, performers and troupes converged and resettled in the territory, leading to a tremendous prospering of Cantonese opera in the subsequent decade. This development is linked intimately with the rise of the electronic media.
Performers and troupes began to grasp the possibilities offered by film and radio to re-examine age-old performance practices with regard to acting, singing, script writing, instrumentation, and stage set-up. They brought in novel elements from the theatre and movie world, and participated in the production of films and records. With these acts, they are extending the movement to modernize Cantonese opera that began in the 1930s.
Wong Jum-sum was thoroughly immersed in the world of Cantonese opera from young. Through his close encounter with master performers like Hung Sin-nui, Ma Si-tsang, Yam Kim-fai, Pak Suet-sin and Tong Dik-sang, he witnessed first hand the modernization of Cantonese opera, and was mightily moved by the adventure and passion he saw.
作曲：Jule Styne
作詞：胡文森
主唱：鄧寄塵、鄭碧影、李寶瑩
鄭：飛哥跌落坑渠 飛女睇見流淚
李：似醬鴨臭腥攻鼻
飛女夾硬扶住佢
鄧：飛哥跌落坑渠 飛女心痛流淚
李：臭夾壓個啲滋味
飛女索著唔順氣
鄭：索野索著「亞檬尼」
鄧：跳舞好似隻蟚蜞
李：應該跌落坑渠
百厭終歸會跌跛
鄧：猛咁跳盞仆崩鼻
鄭：一交撻直唔順氣
合：蠄渠氣 難下氣 難下氣
鄭：索野索著「亞檬尼」
鄧：跳舞好似隻蟚蜞
李：應該跌落坑渠
百厭終歸會跌跛
鄧：猛咁跳盞仆崩鼻
鄭：一交撻直唔順氣
合：蠄渠氣 難下氣 難下氣
