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.

驚破江南金粉夢 (excerpt) (1950s)

撰曲：潘一帆
主唱：鄧碧雲

（白）
花底杜鵑啼，
啼破江南金粉夢，
梢頭眉月照，
照殘鳳閣並頭紅。

（新小曲）
問句天兮何播弄，
奪我佳人遂拆鸞和鳳，
底事絶色竟招妒難客永隔陰陽難望
與卿共芳魂何曾來入夢，
乍見那疏林裏，
飄飄幻影現卿你遺客好比驚鴻已失踪

（乙反二王板面）
乞芳魂與朕訴分飛痛，
卿你抱恨已歸天，
孤空盼夢裏逢，
抱恨正濃，
緣已斷了鸞嘆鳳杳魂魄為你招，
皇為你添悲痛。

（曲）
愁緒滿心中，
清香為敬奉。
但願芳魂鑒領，
朕情濃憶當日駕幸江南，
邂逅了民間彩鳳。
你美如仙，

（士工慢板下句）
淺淺梨渦舒柳眼，
艷壓六院三宮。