3. 情繫八和黃超武
發表於
(戲曲之旅)2009年4月第84期
4. 白 玉 堂 與 我
3. Wong Chiu Mo's Dedication to Baat Woh Association
Published on
Journey to Chinese Opera & Drama, issue84, April 2009
4.Master Baak Yuk Tong and I
Published on
Journey to Chinese Opera & Drama. Issue
Gold Mountain Woh was a Cantonese opera young scholar role actor. Over the course of his life, he traveled to America three times. In 1889, he crossed the Pacific for the first time to perform in Gold Mountain—San Francisco—where he was warmly received by the Chinese community and honored as the “Grand Master of Gold Mountain.”
After returning to China, he devoted himself to training younger performers. In Hong Kong, his peers praised him as the “Treasure of the Baat Wo Association.”
Published on :
Journey to Chinese Opera & Drama, Issue 68. December 2007
Hong Kong Opera Preview, Issue 89, April 2008
金山和 Gold Mountain Woh (1865-1964)
發表於:
2007年12月香港（戲曲之旅）68期
2008年4月香港（戲曲品味）89期
The Queen of Opera Daan- Lam Chiu Kwan
發表於:
2008年5月香港（戲曲之旅）73期
林超群 Lam Chiu -kwan (1906-1955)
In the late Qing and early Republican period, Cantonese opera performances were presented by all-male troupes, and female roles were performed by male actors in cross-gender roles. At that time, many famous male fa-daan performers emerged.
On stage, most male fa-daan were able to portray feminine grace and charm to perfection. Lam Chiu-kwan was one of the most outstanding among them. He was once a leading and celebrated fa-daan, praised as the “Queen of fa-daan with extraordinary voice and technique.” Yet, because of changing times, he faded from the Cantonese opera stage along with the profession of the male fa-daan itself.
Published on :
Journey to Chinese Opera & Drama, Issue 73. May 2008
Mr. Wong Chiu Mo was a renowned opera artist. One of the very first film actors in the history of Chinese cinema in the Bay areas. He was the founder of the Baht Wor Cantonese Opera Association in San Francisco.
黃超武 Wong Chiu Mo (1914-1993）
白玉堂 Baak Yuk-tong (1901-1995)
Master Baak Yuk-tong and I
The most unforgettable conversation for me that evening was when Mr. Baak Yuk -Tong told me about his method of vocal training. Every day, just as dawn was breaking, he would run up to a hillside and project his voice toward the hill opposite, practicing his vocal projection—what Cantonese opera performers call diu sang ji (吊嗓子). Someone would stand on the other side and listen to see whether his voice was loud and strong enough. Throughout his performing career, he practiced this way every single day, without interruption.
陸雲飛 Luk Wan-fei（1914-1968）
Luk Wan-fei and his “Three Treasures”
The Three Treasures was his finest representative work. In this opera, he brought his uniquely distinctive singing style to its fullest expression.
On stage, Luk Wan-fei delighted audiences with his special comic technique of appearing innocently muddled and blank-faced, bringing them endless laughter. In daily life, he was also a gifted storyteller and joker; with just a few words, he could make people double over with laughter. His friends all called him a true “bundle of joy.”
Such a gifted master of comedy lived through an extraordinary era. His dramatic life left behind countless amusing anecdotes, but also a touch of helplessness and regret.
陳艷儂 Chan Yim-nung
(1919-2002)
Flying High Phoenix 沖天鳳
(1917-1954)
Chan Yim-nung and her husband, Flying High Phoenix
Chan Yim-nung was a celebrated female-role performer in Cantonese opera. With three astonishing special skills—Performing on clay pots, performing on bound-foot stilts, and the stage technique of pushing a cart—she rose to prominence in Southeast Asia. She established herself in the Cantonese opera circles of Guangzhou, Hong Kong, and Macau, where she shone brightly. She settled in Gold Mountain—San Francisco—to display the remaining radiance of her art.
Throughout more than eighty years of life, she remained devoted to Cantonese opera and never left it behind. She was also blessed with a good husband: the Cantonese opera male lead and martial performer, Flying High Phoenix.
