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：梅翁（姚敏）
作詞：辛夷（陳蝶衣）
主唱：吳鶯音
我有一段情呀 說給誰來聽
知心人兒呀出了門
他一去呀沒音訊
我的有情人呀 莫非變了心
為甚麼呀斷了訊 我等待呀到如今
夜又深呀月又明 只能懷抱七絃琴
彈一曲呀唱一聲 唱出我的心頭恨
我有一段情呀 唱給春風聽
春風替我問一問
為甚麼他要斷音訊
夜又深呀月又明 只能懷抱七絃琴
彈一曲呀唱一聲 唱出我的心頭恨
我有一段情呀 唱給春風聽
春風替我問一問
為甚麼他要斷音訊
