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：羅保生
主唱：鍾麗蓉
「第一段」
（甜甜曲序）
羅裳來換
為扮侍婢盡量去金釵
今朝依約 花間相會
用妙術安排
行行搖曳 漫漫弄帶
步步上青階
小芳心 我心驚驚
初放我情懷
（食住懷字轉二王）
懷春女兒
自覺心情變態
點解 點解
點解我初嘗情味
我便懶對書齋
點解 點解
點解我上好沉香
要當作爛柴來賣
點解 點解
點解郎情如火熱
令我惹起疑猜（拉腔）
哎唷又怕淑女相思難賣
令我越想越無了賴（拉腔）
「第二段」
（反線中板）
我最怕佢是狂且
態度輕狂
便將奴奴氣壞
又怕佢假義假情
令我為難應付反是無計安排
我若是傲氣 凌人
最怕佢一怒言離
個陣我說相思 難解
怪不得話難得有情郎
我枉有家財千萬
（轉二王下半句）
可憐我為情癲倒
踏破了花鞋
惟望月姥多情
為牽一縷紅色絲帶
（上雲梯）
引得仙女下界
我心思遊纜在長街
天公意念惡猜
絲牽一縷復向檀郎賣
我情如快 心安泰
兩心相印樂無崖
佢既人似潘安妙美姿態
哎吔惹得相思孽債
（二王）
只望良緣天注定
共攝合 和諧
