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：唐滌生
編劇：唐滌生
主唱：芳艷芬
（梵鈴奏歧山鳳引子）
（小曲花心寄）聽歌聲更斷腸魂縈故第﹐我念郎﹐郎念我﹐何日更雙棲青山依舊呀﹐雲雨夢長迷﹐洗卻舊日胭脂﹐摒卻鉛華﹐憔悴為郎腰肢細﹐深宮一入休望回歸。
（乙反二王）一拼艷骨成灰﹐都不作宮牆﹐花卉。我是漢家兒女﹐羞向異族求棲。祇恨今生﹐
（滾花）錯作江南佳麗。若使花容不艷﹐又點會葬入春泥。
