The script of the play The Return of Lady Wenji and the character Cai Wenji were penned and tailored for Chan Ho-kau by Yuen Siu-fai and the late playwright Yip Siu-tak in 1997. It depicts the helplessness and sadness of Wenji when she returns from foreign land to her homeland, leaving her husband and son behind. In particular, Yip Siu-tak was invited to write the lyrics for the singing part in the scene ‘Farewell to the Wife’. When the play debuted, the superb performance and the intricate interpretation by Yuen Siu-fai and Chan Ho-kau brought out the most intense melancholy of the eternal farewell of a couple and the departure of mother and son. For the journey of returning to Han, Chan Ho-kau interpreted Wenji’s yearning for her husband and son and showed her complete devastation that struck the heart chords of the audience. In this run, Lee Lung and Chan Wing-yee are specially invited to act as Dong Si and Lady Bian respectively. The accompanying percussion and ensemble music by the Ko brothers complement and highlight the emotional performance of the opera stars. Cao Cao, another lead character of the play, is played by Yau Sing-po, who vividly portrays the ruthless character of the period on stage. In the end, Cao’s wife Lady Bian speaks of how Cao has done something devastating to ruin the happiness of Wenji, despite his good intentions. Performing the heart-touching theme song in the final scene, Chan Ho-kau brings out the desolation of a mother and a wife who could never reunite with her family under the accompaniment by the Ko brothers.

Over the years, the audience has been waiting for the rerun of The Return of Lady Wenji, so that they could once again appreciate the spectacular performance by the illustrious Cantonese Opera stars Yuen Siu-fai, Chan Ho-kau , Yau Sing-po together with renowned artists Lee Lung, Chan Wing-yee and Lai Yiu-wai.

Xiqin Opera and traditional Cantonese Opera are interrelated and share the same origin. Xiqin Opera is a regional genre that originated from the Xiqin singing style of the Ming dynasty (i.e. qinqiang and Gansu singing styles). It spread to the Hai (Lu) Feng area of Shanwei and evolved with local folk arts and customs. The genre gradually developed its form in early Qing dynasty. It was inscribed in the first listing of National Intangible Cultural Heritage in China in 2006. Haifeng County Xiqin Opera Heritage Centre (formerly Haifeng Xiqin Operatic Troupe) is at present the only professional group specialising in Xiqin Opera, where its Director Lu Weiping is a Representative Bearer of Xiqin Opera as a National Intangible Cultural Heritage. In this programme, the classic plays of Xiqin Opera and traditional Cantonese Opera that share connections will be performed on stage. Executing Own Son at the Gate, a pihuang play of Xiqin Opera, shares similar content with Liulang Executing His Son, the Cantonese Opera play in classic singing style. The former one is also a representative play of the laosheng (old male) role while the later one has its own distinctive singing styles, including the reprimanding tone of Yang Liulang and the singing style of Mu Gua. Executing Zheng En which is sung in xipi resembles the content of Cantonese Opera play Executing the Duke’s Second Brother which is sung in classic singing style. Executing the Duke’s Second Brother is one of the ‘Eighteen Plays of Cantonese Opera’ in the Qing dynasty as well as one of the earlier remarkable plays of Cantonese Opera in classic singing style in Guangdong. Traditional skilful routines are demonstrated in the excerpts of Xiqin Opera. In Liu Xi Chastising His Sons, for example, Liu Xi performs the traditional chair stunt only by his waist, hips and legs to move and turn the chair. Renowned Cantonese Opera star Law Ka-ying will be joining virtuosi such as Wan Fai-yin and Cheng Wing-mui to perform Cantonese Opera plays in classic singing style. The lingering and lasting charm of old genres will be showcased.

Xiqin Opera and traditional Cantonese Opera are interrelated and share the same origin. Xiqin Opera is a regional genre that originated from the Xiqin singing style of the Ming dynasty (i.e. qinqiang and Gansu singing styles). It spread to the Hai (Lu) Feng area of Shanwei and evolved with local folk arts and customs. The genre gradually developed its form in early Qing dynasty. It was inscribed in the first listing of National Intangible Cultural Heritage in China in 2006. Haifeng County Xiqin Opera Heritage Centre (formerly Haifeng Xiqin Operatic Troupe) is at present the only professional group specialising in Xiqin Opera, where its Director Lu Weiping is a Representative Bearer of Xiqin Opera as a National Intangible Cultural Heritage. In this programme, the classic plays of Xiqin Opera and traditional Cantonese Opera that share connections will be performed on stage. Executing Own Son at the Gate, a pihuang play of Xiqin Opera, shares similar content with Liulang Executing His Son, the Cantonese Opera play in classic singing style. The former one is also a representative play of the laosheng (old male) role while the later one has its own distinctive singing styles, including the reprimanding tone of Yang Liulang and the singing style of Mu Gua. Executing Zheng En which is sung in xipi resembles the content of Cantonese Opera play Executing the Duke’s Second Brother which is sung in classic singing style. Executing the Duke’s Second Brother is one of the ‘Eighteen Plays of Cantonese Opera’ in the Qing dynasty as well as one of the earlier remarkable plays of Cantonese Opera in classic singing style in Guangdong. Traditional skilful routines are demonstrated in the excerpts of Xiqin Opera. In Liu Xi Chastising His Sons, for example, Liu Xi performs the traditional chair stunt only by his waist, hips and legs to move and turn the chair. Renowned Cantonese Opera star Law Ka-ying will be joining virtuosi such as Wan Fai-yin and Cheng Wing-mui to perform Cantonese Opera plays in classic singing style. The lingering and lasting charm of old genres will be showcased.

Xiqin Opera and traditional Cantonese Opera are interrelated and share the same origin. Xiqin Opera is a regional genre that originated from the Xiqin singing style of the Ming dynasty (i.e. qinqiang and Gansu singing styles). It spread to the Hai (Lu) Feng area of Shanwei and evolved with local folk arts and customs. The genre gradually developed its form in early Qing dynasty. It was inscribed in the first listing of National Intangible Cultural Heritage in China in 2006. Haifeng County Xiqin Opera Heritage Centre (formerly Haifeng Xiqin Operatic Troupe) is at present the only professional group specialising in Xiqin Opera, where its Director Lu Weiping is a Representative Bearer of Xiqin Opera as a National Intangible Cultural Heritage. In this programme, the classic plays of Xiqin Opera and traditional Cantonese Opera that share connections will be performed on stage. Executing Own Son at the Gate, a pihuang play of Xiqin Opera, shares similar content with Liulang Executing His Son, the Cantonese Opera play in classic singing style. The former one is also a representative play of the laosheng (old male) role while the later one has its own distinctive singing styles, including the reprimanding tone of Yang Liulang and the singing style of Mu Gua. Executing Zheng En which is sung in xipi resembles the content of Cantonese Opera play Executing the Duke’s Second Brother which is sung in classic singing style. Executing the Duke’s Second Brother is one of the ‘Eighteen Plays of Cantonese Opera’ in the Qing dynasty as well as one of the earlier remarkable plays of Cantonese Opera in classic singing style in Guangdong. Traditional skilful routines are demonstrated in the excerpts of Xiqin Opera. In Liu Xi Chastising His Sons, for example, Liu Xi performs the traditional chair stunt only by his waist, hips and legs to move and turn the chair. Renowned Cantonese Opera star Law Ka-ying will be joining virtuosi such as Wan Fai-yin and Cheng Wing-mui to perform Cantonese Opera plays in classic singing style. The lingering and lasting charm of old genres will be showcased.

Xinchang Diaoqiang and Ninghai Pingdiao Operas are ancient genres of Chinese opera and were both inscribed in the first listing of National Intangible Cultural Heritage of China. Won applause when it debuted in Hong Kong during the Chinese Opera Festival in 2013, the troupe will meticulously recur the battlefield at Jiujiang during late Yuan dynasty this year in Xinchang Diaoqiang Opera. National class performers proudly present one of the genres’ classics, The Battle at Jiujiang, by vividly enacting the ingenious Zhang Dingbian and the eloquent Hua Yunlong in chains of stratagems and plots with the presentation of Northern Opera sang in Southern singing style. Following the beacon at the battleground, the light-hearted The Old Water-carrier is introduced amid the dynamic percussion of Diaoqiang Opera. Though being aged and underprivileged, the old water-carrier has no fear towards jurisdiction and insists in pursuing justice, and eventually proves the innocence of the misjudged murderer.

Believed to be originated from the ‘Four Major Ancient Singing Styles’, Ninghai Pingdiao Opera is relatively circumlocutory and subtle when comparing with Diaoqiang Opera. Pingdiao Opera features countless exclusive stunts, especially the most illustrious shuaya (tusk stunt). Performers have to hold pairs of buckteeth in their mouths and at the same time sing, read, beat, etc. as the plot progresses and shuaya instead shares the same standing with bian lian, the face-changing stunt of Sichuan. The successor of shuaya, Xue Qiaoping, will unveil to our audience the rough, yet delicate, fill with wildness but also acuity national-class artistry.

Xinchang Diaoqiang and Ninghai Pingdiao Operas are ancient genres of Chinese opera and were both inscribed in the first listing of National Intangible Cultural Heritage of China. Won applause when it debuted in Hong Kong during the Chinese Opera Festival in 2013, the troupe will meticulously recur the battlefield at Jiujiang during late Yuan dynasty this year in Xinchang Diaoqiang Opera. National class performers proudly present one of the genres’ classics, The Battle at Jiujiang, by vividly enacting the ingenious Zhang Dingbian and the eloquent Hua Yunlong in chains of stratagems and plots with the presentation of Northern Opera sang in Southern singing style. Following the beacon at the battleground, the light-hearted The Old Water-carrier is introduced amid the dynamic percussion of Diaoqiang Opera. Though being aged and underprivileged, the old water-carrier has no fear towards jurisdiction and insists in pursuing justice, and eventually proves the innocence of the misjudged murderer.

Believed to be originated from the ‘Four Major Ancient Singing Styles’, Ninghai Pingdiao Opera is relatively circumlocutory and subtle when comparing with Diaoqiang Opera. Pingdiao Opera features countless exclusive stunts, especially the most illustrious shuaya (tusk stunt). Performers have to hold pairs of buckteeth in their mouths and at the same time sing, read, beat, etc. as the plot progresses and shuaya instead shares the same standing with bian lian, the face-changing stunt of Sichuan. The successor of shuaya, Xue Qiaoping, will unveil to our audience the rough, yet delicate, fill with wildness but also acuity national-class artistry.

Xinchang Diaoqiang and Ninghai Pingdiao Operas are ancient genres of Chinese opera and were both inscribed in the first listing of National Intangible Cultural Heritage of China. Won applause when it debuted in Hong Kong during the Chinese Opera Festival in 2013, the troupe will meticulously recur the battlefield at Jiujiang during late Yuan dynasty this year in Xinchang Diaoqiang Opera. National class performers proudly present one of the genres’ classics, The Battle at Jiujiang, by vividly enacting the ingenious Zhang Dingbian and the eloquent Hua Yunlong in chains of stratagems and plots with the presentation of Northern Opera sang in Southern singing style. Following the beacon at the battleground, the light-hearted The Old Water-carrier is introduced amid the dynamic percussion of Diaoqiang Opera. Though being aged and underprivileged, the old water-carrier has no fear towards jurisdiction and insists in pursuing justice, and eventually proves the innocence of the misjudged murderer.

Believed to be originated from the ‘Four Major Ancient Singing Styles’, Ninghai Pingdiao Opera is relatively circumlocutory and subtle when comparing with Diaoqiang Opera. Pingdiao Opera features countless exclusive stunts, especially the most illustrious shuaya (tusk stunt). Performers have to hold pairs of buckteeth in their mouths and at the same time sing, read, beat, etc. as the plot progresses and shuaya instead shares the same standing with bian lian, the face-changing stunt of Sichuan. The successor of shuaya, Xue Qiaoping, will unveil to our audience the rough, yet delicate, fill with wildness but also acuity national-class artistry.

Xinchang Diaoqiang and Ninghai Pingdiao Operas are ancient genres of Chinese opera and were both inscribed in the first listing of National Intangible Cultural Heritage of China. Won applause when it debuted in Hong Kong during the Chinese Opera Festival in 2013, the troupe will meticulously recur the battlefield at Jiujiang during late Yuan dynasty this year in Xinchang Diaoqiang Opera. National class performers proudly present one of the genres’ classics, The Battle at Jiujiang, by vividly enacting the ingenious Zhang Dingbian and the eloquent Hua Yunlong in chains of stratagems and plots with the presentation of Northern Opera sang in Southern singing style. Following the beacon at the battleground, the light-hearted The Old Water-carrier is introduced amid the dynamic percussion of Diaoqiang Opera. Though being aged and underprivileged, the old water-carrier has no fear towards jurisdiction and insists in pursuing justice, and eventually proves the innocence of the misjudged murderer.

Believed to be originated from the ‘Four Major Ancient Singing Styles’, Ninghai Pingdiao Opera is relatively circumlocutory and subtle when comparing with Diaoqiang Opera. Pingdiao Opera features countless exclusive stunts, especially the most illustrious shuaya (tusk stunt). Performers have to hold pairs of buckteeth in their mouths and at the same time sing, read, beat, etc. as the plot progresses and shuaya instead shares the same standing with bian lian, the face-changing stunt of Sichuan. The successor of shuaya, Xue Qiaoping, will unveil to our audience the rough, yet delicate, fill with wildness but also acuity national-class artistry.

Cheng Yanqiu, the founder of the Cheng school, was one of the ‘Four Great Actors in Dan Roles’ in Peking Opera. The singing art of the Cheng school is highly distinctive and is particularly skilful in singing with a tone projected from the back of the head. The singing style fully highlights the contrasts of high and low, strong and weak, creating a soulful, subtle voice that is both intermittent and continual. The year 2018 marked the 60th anniversary of the death of Cheng Yanqiu, in order to commemorate this virtuoso, the Second Troupe of the China National Peking Opera Company is going to bring three full-length plays to the audience. All three plays are headlined by Li Haiyan, a renowned qingyi (virtuous female) role actress of Cheng school and winner of the Plum Blossom Award for Chinese Theatre. She presents the uniquely stylish vocal style, visual expressions, stylised movements, footwork, hand gestures, sleeves, etc. of the Cheng school fully on stage.

The beautifully sung Consort Mei, created by Cheng Yanqiu in 1925, has not been presented on a Hong Kong stage for a long time. Different from the well-known story between Imperial Concubine Yang Yuhuan and Emperor Xuanzong of Tang presented by the Mei school, this repertoire depicts the sad emotions between Consort Mei and the Emperor by the interpretation of Cheng school. The Unicorn Pouch is a classic play of the Cheng school, which is characterised by sophisticated singing and a variety of ban patterns、 it is a classic that demonstrates the vocal style and the art of stylised movement of the Cheng school. Anecdotes about Empress Wu Zetian is a grand production written by Li Shiji in the 1990s. Li was a disciple of Cheng Yanqiu and received personal training from the master. Li Haiyan inherits the art and received the personal supervision from the late Li Shiji in her rehearsal of the play and she is currently the only Cheng school bearer of this repertoire.

Cheng Yanqiu, the founder of the Cheng school, was one of the ‘Four Great Actors in Dan Roles’ in Peking Opera. The singing art of the Cheng school is highly distinctive and is particularly skilful in singing with a tone projected from the back of the head. The singing style fully highlights the contrasts of high and low, strong and weak, creating a soulful, subtle voice that is both intermittent and continual. The year 2018 marked the 60th anniversary of the death of Cheng Yanqiu, in order to commemorate this virtuoso, the Second Troupe of the China National Peking Opera Company is going to bring three full-length plays to the audience. All three plays are headlined by Li Haiyan, a renowned qingyi (virtuous female) role actress of Cheng school and winner of the Plum Blossom Award for Chinese Theatre. She presents the uniquely stylish vocal style, visual expressions, stylised movements, footwork, hand gestures, sleeves, etc. of the Cheng school fully on stage.

The beautifully sung Consort Mei, created by Cheng Yanqiu in 1925, has not been presented on a Hong Kong stage for a long time. Different from the well-known story between Imperial Concubine Yang Yuhuan and Emperor Xuanzong of Tang presented by the Mei school, this repertoire depicts the sad emotions between Consort Mei and the Emperor by the interpretation of Cheng school. The Unicorn Pouch is a classic play of the Cheng school, which is characterised by sophisticated singing and a variety of ban patterns、 it is a classic that demonstrates the vocal style and the art of stylised movement of the Cheng school. Anecdotes about Empress Wu Zetian is a grand production written by Li Shiji in the 1990s. Li was a disciple of Cheng Yanqiu and received personal training from the master. Li Haiyan inherits the art and received the personal supervision from the late Li Shiji in her rehearsal of the play and she is currently the only Cheng school bearer of this repertoire.