“The Page Boy’s Tease”
This is a one-act playlet from the traditional repertory of the Xiaoliyuan stream. Some attribute it to an unrecorded work in the themed repertory of The Butterfly Lovers. It contains a lot of dancing movements and incidental music, and retains elements of raditional
theatre from the Tang Dynasty. In this play, instead of telling the all too familiar story of Liang Shanbo and Zhu Yingtai, it takes the angle of Liang’s page boy and Yingtai’s maid in a witty, comical tête-a-tête, thus giving the original tragedy a comic side.

“Making a Dress for Her Mother-in-Law from Zhu Bian”
This is taken from the traditional repertory of Xiaoliyuan plays, performed by two actors in dadan (principal female) and laotie (old woman) roles. The genuine concern between a mother-in-law and daughter-in-law has touched many hearts, so the play is a popular
piece which leads to the saying, “A daughter-in-law should be like Zhu Bian’s wife, and a mother-in-law should be like Zhu Bian’s mother.” The story takes place in early Southern Song period. Zhu Bian is an envoy of the Song court to the Jin’s in the north, where he is retained for sixteen years. His wife, née Wang, remains a filial daughter-in-law and takes good care of his mother, so much so that during a military mutiny, she gives up her son to get her mother-in-law out of harm’s way. On a cold winter night, Wang is tailoring a new gown for her motherin-law as birthday present. The two women think of the sons they miss and shed tears together.

“Shipeng’s Guess from Wang Shipeng”
Wang Shipeng is a traditional play in the Shanglu stream, and the story is based on one of the four representative works in Southern Opera of the Song period, The Wooden Hairpin. It is considered a valuable work in the archives of Liyuan Opera. Through the music
and formulaic presentation, this excerpt demonstrates how “guessing” can reveal the psychological drama in characters. It is also a challenge for actors in guansheng (male official) roles in this genre. The story takes place during the Southern Song period. Wang hipeng has come top in the civil examination. He writes home to tell his family the happy news and waits for his wife and his mother to come to the capital to join him. What he does not know is that his letter has been changed, and it becomes a divorce letter for his wife. She is so devastated and shamed that she throws herself into the river. When Wang’s mother, accompanied by his brother-in-law, arrives in the capital without his wife, Wang gets suspicious and insists on getting to the bottom of the truth. He only succeeds after a lot of guessing, questioning and probing.

Instrumental performance on the yajiagu (southern drum,) percussion and four wind instruments in Liyuan Opera.

“Niu Gao Snatches Away the Edict”
The vocal style of this excerpt is Huqin qiang and a variety of tempos such as Daoban, Jitou, Meihuaban and Erliu are employed. Through the change of tempos, the richness of Dian Opera singing, whether sonorous, low or deep, is fully displayed. Refined by veteran Dian Opera artists Qi Shaobin, Zhao Yuntao, Li Shaoyu, Chen Rongsheng and Fu Yuyao, this excerpt has become the most iconic piece in the Dian Opera repertoire. After the tragic death of the loyal Yue Fei, Niu Gao became a robber in Mount Taixing. When the Jin armies were at the door, no one from the imperial court dared to defend the country. The emperor made an edict ordering Niu Gao to fight against the Jin troops. Lu Wenliang was sent to read the edict to Niu. After hearing the edict, Niu refused to take the emperor’s order, snatched away the edict and broke it into pieces. Helpless, Lu handed Niu a letter from Yue Fei’s mother. In the letter she asked Niu to put
the interest of the country first and fight against the enemies. Niu agreed to lead the army under one condition: “He was not going to the battle by the order of the emperor”.

“Jingniang Seeing Her Sworn Brother Off”
This is a representative piece created by veteran opera writer Yang Ming. The vocal style of this excerpt is mainly a combination of Sixian qiang and Huqin qiang. The blending of two vocal styles is achieved through complex and repetitive tempos such as Daoban, Jiaqiao, Pingban and Fast Sanyan. Although many different combinations of vocal style and tempo are involved, the transition from one to another is smooth and orderly. Together they create a pleasing effect. In the second half of the opera, there is a sudden change to Huqin ‘Yindiao’, which is slow with long fill-in accompaniments. The use of ‘Yindiao’ does not tune down the emotions of Jingniang; on the contrary, it expresses her grief, anger and pain intensely. After being kidnapped by robbers, poor Jingniang met Zhao Kuangyin who rescued her. Zhao escorted Jingniang back to her hometown; and on their way, they became sworn brother and sister. After arriving at her home, Jingniang revealed to Zhao her love for him. Believing that a man should put his career before everything and fearing that there might be gossips since they were sworn as brother and sister, Zhao refused Jingniang’s love. After being misunderstood and humiliated by Jingniang’s clan members, Zhao left in anger. Full of regrets, Jingniang hung herself and died. Her spirit accompanied Zhao while he was on his way. She transformed herself into a firefly to light up the way for Zhao when he traveled at night.

“Identifying the Dowager”
Huqin qiang and Xiangyang qiang vocal styles. This excerpt draws its materials from the legend Exchanging a Leopard Cat for a Prince, and features the laodan (old female) role. Here, both vocal styles, Huqin qiang and Xiangyang qiang are employed and expressed in different tempos including the distinguishing Meihuaban, Shunshuiyu and Ganqichui. When Lady Li enters the stage,
she sings in Daban yindiao of Huqing qiang, which is subtle and delicate yet sorrowful, fully displaying the misery of this once noble lady of the royal court. Bao Zheng sings in a natural and vigorous voice. The duet between the laodan’s mellow and full voice and the hualian’s strong and sturdy delivery produces pleasing melodies. Southern Song emperor Zhenzong’s two imperial concubines, Li Ruizhen and Liu Fuqing, were pregnant at the same time. Zhenzong decreed that between them whoever gave birth to a son first would be the empress. Liu plotted against Li and exchanged Li’s baby prince for a leopard cat. Believing that Li had given birth to a monstrous creature, Zhenzong punished Li, who was forced to leave the royal palace. When Prince Zhao succeeded as emperor, he ordered Lord Bao to revisit the case. Bao found empress Li and brought the conspiracy of Liu and eunuch Guo Huai into light. Liu and Guo were put to justice, and Li was reinstated as empress dowager after her grievous wrongs for twenty years were righted.

“Zhuge Liang’s Sky Lanterns”
Huqin qiang vocal style. This classic Dian Opera excerpt is also known as Kung Ming Making Obeisance to the Lanterns or The Battle of Wuzhangyuan. Zhuge Liang sings in the Yizi, Erliu and Gunban tempos of Huqin qiang, demonstrating the bitter, intense character of the vocal style. Singing is the key part of this excerpt. The actor who plays the role of Kong Ming, the genius strategist of Liu Bei, sings in a low and heavy tune to express Kong’s determination to serve the country to his last days. During the time of the Three Kingdoms, Kong Ming waged a war against the Kingdom of Wei. After engaging in six expeditions, he was exhausted. Knowing that he is dying, Kong entrusted the arrangement of his funeral to his generals. Jiang Wei suggested
him to change his destiny by a ritualistic prayer. He therefore set up the Sky Lanterns and carried out rituals every day. After observing the stars in the sky, Sima Yi of the Kingdom of Wei knew that Kong Ming was nearing his end. But he was not absolutely sure, so he sent Xiahou Ba and his troops to find out. Mistaking the scouting as an attack after sighting the enemies,
Wei Yan ran to Kong Ming’s tent to report. In a panic, he stepped on the lantern that represented Kong’s life and extinguished its light. Kong threw away his sword and sighed, “Life and death is a matter of destiny. No one can change them.” Jiang Wei wanted to kill Wei Yan for his inadvertence, but was stopped by Kong. He died in the camp after making arrangements for his funeral.

“A Stroll in the Imperial Garden”
Using Xiangyang qiang, Huqin qiang and Sixian qiang vocal styles, a piece emphasizes heavily on singing. The use of three vocal styles in one excerpt is very rare. Together, they demonstrate the richness, colours and variety in the singing of the female roles. Being the beloved imperial concubine of Emperor Xuanzong, Yang Yuhuan indulged in entertainments all day. Under her influence, her brother Yang Guozhong became one of the emperor’s prime ministers, and her three sisters were granted the Lady title. Later, the emperor favored one of her sisters while at the same time kept seeing another imperial concubine Meifei secretly. This came to the knowledge of Yuhuan who became very upset. Eventually, she and the emperor were back on good terms. On the seventh day of the seventh month of the lunar calendar, they vowed in the Hall of Eternal Life before the stars of the cowherd and the weaver girl that they would never part with each other.

“Killing Liu Feng by Rolling Drums Downhill”

Sixian qiang vocal style. The story comes from the famous The Romance of the Three Kingdoms. Excerpt for actors skilled in playing the roles of second rank painted face and civilian comic male is a creation by veteran Dian Opera writer Yang Ming and an iconic work of renowned Dian Opera performer Qiu Yunsu. Sixian qiang, particularly in Erliu and Kupin, is used throughout the excerpt: after Zhang Fei sings a line, the gong and drum will beat once, to be followed by a movement by Liu Feng. After this routine, Liu Feng, accompanied by gong and drum music “Fanshanrao”, waves his sleeves and manipulates the long pheasant tail feathers on his helmet as he sings. During the time of the Three Kingdoms, Guan Yu, defeated, escaped to Maicheng. Liu Bei’s adopted son Liu Feng refused to send reinforcements, resulting in Guan Yu’s death after being besieged. Zhang Fei devised a plot to trap Liu Feng inside a drum and killed him by rolling the drum down a steep hill.

“Barging into the Palace”
Huqin qiang vocal style. Barging into the Palace is the most brilliant excerpt of the Dian Opera Qin Xianglian. Some of the tunes sung in the excerpt, for example the Meihuaban and Erliu, are so sad and touching that they have become widely popular. Some of its recitations, which recall the past, such as the Yunbai and Yunlibai, are unique to Dian Opera. Chen Shimei bandoned his wife Xianglian and their son to become the son-in-law of the emperor. In order to appeal to Chen’s love and sympathy for them, Xianglian barged into the palace to tell him about their dire situation caused by continuous famines in his hometown. But the avaricious and ungrateful Chen was unmoved and drove them out of the palace.

“Taking the Tonsure on Mount Wutai”
Sixian qiang vocal style. This is an excerpt from iconic Dian Opera work, Generals of the Yang Family: Battle of the Golden Beach, in which the singing is sonorous, and at times gentle and tender. Daoban, Erliu, Aizi and Kupin are used to fully unfold Yang (Yande) Wulang’s war-weariness, passiveness and pessimism. This is followed by his father Yang Jiye’s elaborate singing of over sixty fine lines in three slow and three quick tempos. His rising and falling tonal variation fully expresses his boldness, loyalty and will power. Emperor Taizong went to the Shuanglong Assembly held at the Jinsha Beach. Tricked by the wicked Pan Hong, the Yang warriors were defeated at Mount Wutai and suffered great casualty. Losing his son, Yang Jiye was heartbroken. His fifth son Yande, disillusioned with the mortal world, wanted to become a monk in Mount Wutai. Jiye, who loved Yande dearly, disapproved. However, Yande was so determined that Jiye eventually gave his permission reluctantly.

“The Killing of Yan Xijiao”
Huqin qiang vocal style. This excerpt, coming from Stories of the Water Margin written by Shi Naian, is a climax of the whole drama. There are two features in this excerpt; the first is its emphasis on acting and the second is the use of the Anqing tempo. The Anqing tempo is best for expressing the shrewdness of Yan Xijiao and the indignation of Song Jiang. This excerpt has become an iconic Dian Opera work to be preserved and continued. Chao Gai, leader of the Liangshan Marsh, sent a letter to Song Jiang. After receiving the letter, Song went to his House Wulong to stay for the night, but he carelessly lost the letter there. His wife Yan Xijiao found the letter and used it to threaten Song, who was forced to yield to her requests. Still, Yan wanted to get rid of Song by exposing his dealings with the outlaws of the Liangshan Marsh to the officials. Despite Song’s repeated pleas to her, Yan insisted on giving the letter to the officials. With no alternative, Song killed the heartless Yan in anger.

“Going to War from The Lady Generals of the Yang Family”
Traditional piece of Dian Opera from The Lady Generals of the Yang Family. The singing is in Sixian qiang, which is the ideal vocal style to capture and express the intense enthusiasm and lofty aspiration of Mu Guiying and She Taijun to fight against the invading enemies. It can be sonorous and intense, solemn and stirring, as well as lighthearted and lively. Western Xia, a foreign military power, invaded Northern Song. The valiant and heroic Mu Guiying took command of the army and led the female warriors of the Yang family to fight the invaders.

This is an excerpt from The Story of the Wooden Hairpin written by Ke Danqiu in the Yuan Dynasty. Although other theatre troupes seldom perform this piece, Yongkun insists on preserving it and staging it from time to time. Its storyline is simple but it conveys clearly the meaning of a common and easy to understand literary quotation: ‘Beating the maid, reflecting on her mistress’.

“Interrogating the Maid from The Story of the Wooden Hairpin”
Impressed by Wang Shipeng’s cleverness and eagerness to learn, tribute scholar Qian Liuxing betrothed his daughter Yulian to Wang. Wang and his mother lived in poverty, so she could only give Qian a wooden hairpin as the wedding gift. Later, Wang became the number one scholar in the imperial examination. The prime minister wanted to marry his daughter to him, but Wang refused. Wang wrote a letter to Yulian, but he did not know that the letter had been maliciously changed. After reading the fake letter, Yulian was heartbroken and jumped herself into a river. She was rescued by Qian Zaihe who adopted her as his daughter. In Interrogating the Maid, Qian Zaihe suspected Yulian and her maid Meixiang were hiding something important from him, so he interrogated Meixiang to find out the truth.

“On Seeing His Mother But Without His Wife from The Story of the Wooden Hairpin”
This is one of the signature works of Yongjia Kunqu. The actor who plays the xiaosheng (young male) role in this excerpt walks in ‘sparrow steps’ and shakes the wing-like attachments to his hat to show his bold and unrestrained character and his up-surging emotion. This performance is special for bringing three senior artists of Yongkun back on the stage together. Wang Shipeng’s letter to his family was changed. After reading the letter, his wife thought that Wang had married the prime minister’s daughter, so she jumped into the river to kill herself. Wang’s mother went to the capital city to find him. Wang was overjoyed to see his mother but was surprised that his wife was not with her. When his mother answered his questions evasively, Wang became suspicious. In the end, a piece of mourning string fell down from his mother’s sleeve. Wang then found out about his wife’s death, and was heartbroken.

“The Animal Sacrifice from Plucking the Laurel”
This is a special repertoire of Yongjia Kunqu. Completely different from the style of traditional Kunqu, this piece is straight forward and uninhibited, simple and unadorned, and plain and unassuming. Its grass-root character earns it great popularity among the village audience. Eighteen years ago, after being raped by her master, young maid Peizhi gave birth to a son. Her hard-hearted mistress took away her son and made her work in the kitchen. Eighteen years later, Peizhi’s son became the number one scholar in the imperial examination. Overjoyed, Peizhi thought that her son would not look down on her and would reunite with her. Unfortunately, even greater misfortune and misery awaited her.

“To the Banquet Armed”
This excerpt from Romance of the Three Kingdoms depicts vividly the brave, resourceful and daring character of Guan Yu. Through its unique style of singing and the stunning northern school martial arts, this performance by Yongkun projects the heroic image of Guan Yu to its fullest extent. Having borrowed Jingzhou from Sun Quan to station his troops, Liu Bei failed to return it. Sun’s chief military strategist Lu Su invited Liu Bei’s general and sworn brother Guan Yu to a feast. Armed with only one knife, Guan Yu went with his attendant Zhou Cang. Before the feast began, Lu Su demanded the return of Jingzhou. Guan Yu seized Lu Su and rebuked Lu for laying an ambush against him. Seeing that he is in Guan Yu’s hands, Lu Su was forced to give up. Guan Yu then set sail and returned to his camp.

“Eating Rice and Eating Chaff from The Story of the Lute”
Performances of this play has not ceased since the Qing Dynasty. After having given the only remaining two bowls of rice to her in-laws, Zhao Wuniang ate chaff in the kitchen. Suddenly, she felt a lump in her throat and choked. To ease herself, she put the
bowl on top of her head and banged the centre of the bowl with a pair of chopsticks while the gong accompanies her gestures in a cold and sorrowful tune. With tears running down from her eyes, Zhao Wuniang stretched out her neck and kept swallowing.
The actress’s vivid portrayal touches the hearts of the audience deeply. Cai Bojie left home to attend the imperial examination in the capital city. After he left, his family heard no more from him. Famine
broke out in Cai’s hometown and lasted for years. In order to buy rice for Cai’s parents, his wife Zhao Wuniang sold all her belongings. She gave all the rice to her in-laws and ate chaff herself. But her mother-in-law suspected that Zhao kept all the good food to herself. When the mother-in-law found out the truth, she was full of regret.

“The Day of the Wedding from The Story of the West Chamber”
This play fully displays the characteristic features of Kunqu singing and dancing. Hongniang sways her waist and walks in twisted steps to display her playful and lovely character even when she is upset. When she sings the set tune of Shi Er Hong, her
postures and dance movements are stylish and varied. Young scholar Zhang Gong became lovesick after seeing the beautiful Cui Yingying. Cui’s maid, Hongniang acted as their go-between to help them realize their wishes.

“Painting the Portrait and Taking Leave at Her In-laws’ Grave from The Story of the Lute”
Zhao Wuniang is a typical zhengdan (leading female) role. The actress who plays this role must convey the intense sadness and desolation of the character. She must also possess unique singing and acting style. Painting the Portrait, Lamenting over the
Portrait, Taking Leave at Her In-laws’ Grave and Entrusting the Grave to Elderly Zhang fully express the sorrow of Zhao Wuniang and Elderly Zhang. After the death of her in-laws, Zhao Wuniang went to find her husband in the capital city. Before she left, she painted a sad portrait of her deceased in-laws. When Elderly Zhang heard that Zhao was leaving, he gave her food and money and saw her off at her in-laws’ grave.

“Yearning for the Secular World from A Sea of Sins ”
Melodic and smooth flowing, this solo performance by a dan is highly demanding on the aesthetic appeal, posture complexity and movement variation of its performer. A popular Kunqu work, this excerpt is frequently performed on stage. A young woman surnamed Zhao joined the Xiantao Nunnery as a nun since she was a child. Her Buddhist name was Sekong. She found the solitude and loneliness of being a nun unbearable. Determined to seek happiness in the secular world, she ran away from the nunnery in the mountains to find a new life.

“Autumn River from The Story of the Jade Hairpin”
In other genres of Chinese opera, this excerpt features Pan Bizheng and Chen Miaochang as the leading characters. But this one performed by Yongkun is different: the old and young boatmen take centre stage instead. Another breakthrough is that it brings to the stage the rolling movements employed by Yongjia’s local boatmen. This excerpt is particularly popular among village audience and is one of the classic repertoires of Yongkun. During a war, Chen Miaochang sought refuge in the Nuzhen nunnery and became a nun. Scholar Pan Bizheng failed his imperial examination and was too ashamed to return home. He went to stay with his aunt who happened to be the nun in charge of the Nuzhen nunnery. Pan and Chen fell in love with each other when they met. This was found out by Pan’s aunt who then forced Pan to attend the imperial examination again. When Chen heard of Pan’s departure, she hired a boat to chase him. When they met, Chen reassured Pan of her unfailing love for him.

The Number One Scholar Zhang Xie
This is the oldest play of Southern Chinese theatre recorded in the Yongle Encyclopedia. The version adapted by Yongjia Kunqu presents a number of southern theatre elements, such as using actors as props, changing costumes on stage and one actor
playing several roles. So, in the story, the Netherworld Judge and the Temple Ghost are at the same time a demon of much lesser status, a bystander and a commentator, sometimes even a prop such as a door or a chair, and at other times a spirit who ‘sucks
up’ the altar offerings. Most important of all, there is the symbolic representation of the dilemma in Zhang the protagonist’s heart. The so-called ‘happy ending’ is a parody of the actual tragedy of women of ancient times, when their wills and wishes are often
at odds with their fate.

Scene One
Sichuan scholar Zhang Xie went to the capital for the imperial examination. On his way he was robbed, and he escaped to an old temple in the mountain for shelter. There he met a poor young woman. The Netherworld Judge and the little ghost of the temple acted as their match-maker and the two became husband and wife in poverty.

Scene Two
Wang Deyong wanted to find a husband for his daughter Shenghua. Hearing that Zhang Xie has become the number one scholar of the year, he wanted to offer him the silk rope as a token for the marriage proposal.

Scene Three
After becoming the number one scholar, Zhang Xie paraded the streets of the capital on horseback. Wang Deyong offered him the silk rope and he wanted to accept it, but feared that his marriage with the poor girl if exposed would affect his future. So reluctantly, Zhang Xie refused Wang’s silk rope which bred enmity between them.

– Intermission of 15 minutes –
Scene Four
After being publicly rejected by Zhang Xie, Wang’s daughter Shenghua died in grief. Hearing that her husband had become the number one scholar, the poor girl went to the capital to look for him. But the unfaithful Zhang Xie refused to see her. The poor girl had to sing and beg all the way back to her home.

Scene Five
Zhang Xie was sent to Zizhou to serve as a local official. He blamed the poor girl for ruining his name and career, so on his way to his new office, he went to the old temple to kill her, but was stopped by the Netherworld Judge and the Temple Ghost. Full of grudge and sorrow, the poor girl beat the Netherworld Judge and the Temple Ghost while in tears, accusing them for being blind and incapable. When Wang passed by the old temple on his way to his new posting, he found the wounded poor girl and adopted her as his daughter.

Scene Six
To revenge the insult of his daughter being publicly rejected by Zhang Xie, Wang went to Zizhou to be Zhang’s supervising official so that he could give him a hard time. When Zhang Xie went to see Wang, he was startled to find the poor girl there. Filled with regret,
Zhang Xie asked for forgiveness, and the poor girl was touched and could not bring herself to kill him. With Wang’s blessing, Zhang Xie and the poor girl married once more.

This content is only available in Chinese

This content is only available in Chinese

There are eight famous pieces in the sung music of South China (or ‘Lingnan’), with the scores originating from Cantonese Opera, known as “Eight Classic Pieces”. Each follows a stringent way of voice delivery as well as rules for ensemble accompaniment. Thanks to the salvaging efforts of the Cantonese song art expert, Mr Leung Yee-chung (1905-1974), who collated the vocal tracks of the eight pieces on Commercial Radio in 1966, this invaluable repertory of song art was preserved. In a bid to save it from extinction, the Faculty of Education of the University of Hong Kong launched a research and develo pment project to tie in with this meaningful project, this year’s Festival will present the exquisite of the Eight Classic Pieces. Under the artistic direction of Leung So-kam, daughter of the late Mr Leung Yee-chung and herself a famous singer of Cantonese arias, stars of Cantonese Opera in Hong Kong including Law Kar-ying, Yuen Siu-fai, Liu Kwok-sum and Cheng Wing-mui will perform the full-length production Lulang Reprimands His Son from among the Eight Classic Pieces. The vocal style will be modelled upon the recordings made by Mr Leung on Commercial Radio in 1966. There will also be two shows in which Cantonese operatic song artists Leung Chi-kit, Ting Oi-lin; Cantonese Opera star, Sun Kim-long with Tam Wing-lun, Wong Po-huan, Wong Hok-chiu and Yuen Tak-man, to present arias and excerpts from the Eight Classic Pieces. The Hong Kong audience will be able to revisit this invaluable musical heritage of South China, which had once almost fallen into oblivion.

Programme details are as follows:
“Jia Baoyu’s Lament for the Wrong Match in the Arranged Marriage”, “Death of Lin Daiyu” and “Jia Baoyu Mourning Daiyu” from “Daiyu Buries Fallen Flowers”; “Han Xin Accepting Food from the Washer Woman” and “Xiao He Chases After Han Xin” from “Han Xin Defects to Han from Chu”