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.
撰曲：胡文森
編劇：楊工良
主唱：新馬師曾（飾呂布）
鄧碧雲（飾貂嬋）
貂嬋（唱）：宛囀歌襯住仙樂佳韻，歌聲舞影，得獻於將軍何幸，無限歡欣，吻香心裡熱更甚，借歌恩，含羞對住將軍，表露傾慕心承恩，唉，回首媚眼待人，含情媚笑望人，若得一訴痴心，愿足堪慰三生，怎得有知音辨雅韻。
呂布（唱）：三魂隨鳳飄不禁，驚見絶色美麗人，情歌聲相挑引，雙眼定兼夾頭瘟，驚醒色情心，顧不得失禮筵前，都為此撩人紅粉，佢嘅鶯聲傳雅韻，已知玉人有意，對我訴出思慕之忱，媚眼半含羞，已使我魄蕩魂搖，英雄甘在美人關內困，正係關山曾遍歷，見盡南甜金粉，何曾見此美麗佳人，我幾欲挽香腰，無奈又怕失儀，惟有偷望美人心著緊，呀。
