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：任劍輝（飾艾敬郎）
白雪仙（飾冷霜蟬）
霜嬋（白）：敬郎
敬郎（白）：霜嬋
霜嬋（白）：今夕相逢，你可知用意？
敬郎（白）：我知，你一早知斷腸時刻，無非欲息我痴心，免化情海冤禽而已
霜嬋（白）：敬郎，適才在王爺御前，未能吐衷心說話，我生是你艾門人，死是你艾門婦，生非破甑之身，死為完璧之鬼，望你將霜嬋兩字，寫在靈牌，你再返新房，候我魂歸鴛帳（慢白）敬郎，你去罷，你快快返去焚香，將我孤魂接引啦
敬郎（乙反南音）：袛怕我聲嘶難念倒頭經，不若同行歸幽冥。再續人間合巹情。妹你落地有形郎化影，妹你上天為月我為星。你若化楊枝被召領，我願化觀音掌上瓶
霜嬋（哭接唱）：花逢火劫香難剩
敬郎（接唱）：化為火舌吻殘英
霜嬋（接唱）：我投下三干求絶命
敬郎（接唱）：我化為魚腹載屍靈
霜嬋（略催快接唱）：我化為白雪留倩影
敬郎（緊接）：倘卿你為雪我為冰
霜嬋（更快接）：我懸樑永別曇花境
敬郎（接唱）：交頸同偎化做繩
