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：Gesang Martohartono
作詞：吳一嘯
主唱：林鳳
你去千萬里 對君心更堅
情郎之形永留
惟夢中可見君面
你我初會見 汽車一線牽
何期生起愛情
微妙間竟化情燕
我再與君共見面
鑽石扣針撮合幸運線
輕飄飄真似一夢
橋上笑窩香肩
愛結花並蒂 訂婚不變遷
符兒親手佩來
良夜中心醉情軟
煞那風共雨 愛之花化煙
情河翻起醋潮
為甚麼恩愛不念
我到海岸去 已經分兩邊
無言傷感送郎
遙望他使我腸斷
每每對畫落眼淚
那日與君似月又復圓
悲悽悽苦痛不盡
愁度百花春天
你去千萬里 對君心更堅
情郎之影永留
惟夢中可與郎見
