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.

春燈羽扇恨 (excerpt) (1959)

編劇：唐滌生（原著）
　　　李願聞（改編）
主唱：任劍輝（飾九環）
　　　芳艷芬（飾綉芳）

綉芳：（唱）
　　　匆匆已過十四載光陰
　　　苦心扶育弱女成人
　　　彈復唱
　　　响遏行雲
　　　金噪玉韻
　　　釵裙只為人唱
　　　一曲清歌取價值
　　　廉士售文沽字以謀生
　　　安處寒廬歡慰甚
　　　正是炎涼世態
　　　得到兩餐
　　　總堪稱有幸
　　　能勤奮
　　　定愉快過日辰

綉芳：（白）
　　　咿，時候唔早架嘞
　　　我執埋的嘢
　　　出去做番生意先

英強：（白）
　　　好呀好
　　　你去賣唱
　　　我又寫埋篇文章

九環：（唱）
　　　慘遇爹爹驅擯
　　　三載飄泛成萬劫身
　　　捱盡了風霜困苦
　　　已往那堪問
　　　心中空抱恨
　　　恨無辦法
　　　尋求善美生機
　　　女奮起再做人
　　　不必到處遭厄運
　　　受飢更受寒
　　　想起確傷心