Celebrating the Reunification with Cantonese Opera Classics
Enlightenment of the Goddess of Mercy, Grand Birthday Celebration at Mount Heung Fa
by The Chinese Artists Association of Hong Kong

Introduction

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The Chinese Artists Association of Hong Kong will bring about a complete revival of Cantonese Opera classics based on the librettos printed with ceramic types and videos of the 1966 performance that the Association staged more than half a century ago at the bamboo theatre at Kowloon City Sa Po Road to celebrate the birthday of the HKSAR.  Based on popular folk legend, the Enlightenment of the Goddess of Mercy depicts the story of Princess Miu-sin, King Miu-zong’s daughter, attaining enlightenment and becoming Bodhisattva Guanyin.  It will be followed by three traditional set pieces Grand Birthday Celebration at Mount Heung Fa, Blessing by the God of Fortune and Fairy Returns Her Son to the Mortal Father.  Set pieces are perennial repertoires which have retained the earliest format of Cantonese Opera performance in lyrics, singing and performance routines.  Grand Birthday Celebration at Mount Heung Fa is a traditional auspicious set piece with a large cast and amazing performance.  It depicts the celebration of Guanyin’s birthday by the immortals and involves a number of ancient performance routines such as “fairy dance”, “dragon-subduing arhat pose”, “tiger-taming arhat pose” and “general-in-chief Wai To pose”.  Apart from traditional stylized moves, there are also special fantasized parts like “peach-bursting” and “coins-scattering”.  Another highlight is the rarely-seen acrobatic feat of “weaving” performed by over 30 martial actors in a variety of stylized fashions which is a great treat to the eyes.  Gathering elite performers from Hong Kong including teachers and students from The Hong Kong Academy of Performing Arts, together with guest performers from Guangdong and Macao, this performance boasts of an excellent cast from different generations, recreate and pass on the classics.

Celebrating the Reunification with Cantonese Opera Classics
Enlightenment of the Goddess of Mercy, Grand Birthday Celebration at Mount Heung Fa
by The Chinese Artists Association of Hong Kong

Programme Details

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Grand Theatre, Hong Kong Cultural Centre

30/6 & 2/7 Fri & Sun 7:30pm
1/7 Sat 2:30pm

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Enlightenment of the Goddess of Mercy

Based on popular folk legend, it depicts the story of King Miu-zong’s daughter, Miu-sin.  It was first recorded in “The Legend of Bodhisattva Guanyin” written by Koon Do-sing in Yuan dynasty.  Guanyin was originally the youngest daughter of King Miu-zong in the western land, who later practiced the Buddhist way at Mount Heung Fa.  The legend of Princess Miu-sin as the former identity of Guanyin is widely popular.  Cantonese Opera Enlightenment of the Goddess of Mercy opens with the scene of King Miu-zong’s birthday where officials gathered to celebrate but King Miu-zong was preoccupied with thoughts about his still unmarried youngest daughter Miu-sin.  Princess Miu-sin renounced mundane matters and practiced the Buddhist way devoutly.  King Miu-zong wanted to offer her hand in marriage to General Wai To for his meritorious achievement but Miu-sin wrote a letter and took off.  With the help of immortals, Miu-sin passed the trials of turning iron pillar into needle and carrying water with bamboo basket, and was eventually accepted by the old nun as disciple.  King Miu-zong was enraged and ordered to burn down the temple.  Meanwhile, Bodhidharma descended upon earth to disguise as a scholar to test Miu-sin.  Miu-sin was thereby enlightened and transformed into Guanyin.  Seeing this, King Miu-zong and others forsook riches and fortune to practice the Buddhist way one after another.  The eunuchs and court maids who returned to the imperial court to claim the throne.

Set Piece

According to Cantonese Opera tradition, fixed repertoires must be performed by troupes on special celebratory festivals and occasions as prelude for the formal performance.  These special repertoires are set pieces.  Traditional set pieces are mostly related to celebrations of religious occasions and major festivals with prescribed performance routines.  Popular set pieces include Birthday Celebration by Eight Immortals, Prime Minister of Six States, Grand Birthday Celebration at Mount Heung Fa, Blessing by the God of Fortune and A Fairy Returns Her Son to the Mortal Father among others.  Grand Birthday Celebration at Mount Heung Fa is usually performed to celebrate birthday of deities such as Wah Kwong, the patron deity of Cantonese Opera, Tam Kung, Master Tin and Dou as well as Master Cheung Ng.

 

Grand Birthday Celebration at Mount Heung Fa

Grand Birthday Celebration at Mount Heung Fa depicts the immortals celebrating the birthday of Guanyin with a splendid set and a large cast.  The characters are all fairies and immortals including, in order of appearance, Eight Immortals, fairy maidens, Monkey King, King of Four Seas, Three Hold Mothers, Guanyin, Big-head Buddha, Dragon-subduing Arhat, Tiger-taming Arhat, General-in-chief Wai To, Cou Bou and Blossom Heart.  It involves a number of ancient performance routines such as “fairy dance”, “dragon-subduing arhat pose”, “tiger-taming arhat pose” and “general-in-chief Wai To pose”.  There are also special fantasized parts like “multi-transformation of Guanyin”, “peach-bursting” and “coins-scattering”.  In the scene of coin-scattering by Cou Bou, he scatters antique coins which symbolized auspicious blessings so much so that the entire auditorium is filled with a boisterous celebratory atmosphere.  On the birthday of Wah Kwong on the 28th of the Ninth Month in lunar calendar each year, The Chinese Artists Association of Hong Kong would join hands with the industry to perform this set piece.  To preserve the unique tradition and rites is of paramount importance in salvaging and protecting the traditional arts of Cantonese Opera.  According to scholar Miss Lam Man-yee’s research, the earliest record on the performance of Grand Birthday Celebration at Mount Heung Fa is an advertisement in The Chinese Mail on 23rd April, 1900 (26th year in Guangxu era of Qing dynasty).  That date is the birthday of Masters Tin and Dou and the troupe Shui Sing Ping performed this piece at Ko Sing Theatre.  One of the largest performances of the piece last century is in 1966.  It was initiated by the chairman of the Chinese Artists Association at that time, renowned actor Leung Sing-bor who called upon the support of the entire industry to perform the piece at the bamboo theatre in Kowloon City Sa Po Road.

 

Blessing by the God of Fortune

In Blessing by the God of Fortune, the performer playing the God of Fortune will put on a white mask, a crew-neck robe and a gauze hat, and carry a memorial tablet in his right hand.  He will show the audience red stripes of cloth written with auspicious blessings such as “peace”, “prosperity”, “longevity”, “everything as wish” and so on, which symbolize blessings from the celestial god.  Based on scholar Miss Lam Man-yee’s research, the earliest record on performance of this piece in Hong Kong is the report carried in Shun Pao on 17th October, 1872 (11th year of Tongzhi era in Qing dynasty) on the event of the Russian prince watching Blessing by the God of Fortune and Prime Minister of Six States in Sing Ping Theatre on 30th September, 1872.

 

A Fairy Returns Her Son to the Mortal Father

It depicts the story of the marriage between Tung Wing and the youngest of the Seven Fairies, Chut Zeand their forced separation by the Jade Emperor whereby Chut Ze returned their newborn son to Tung Wing.  There are two different versions of the piece; the ”grand” and the “mini” version.  This performance is the grand version which opens with the seven fairies looking upon the mortal world followed by Tung Wing on an inspection tour after winning the top honor in the imperial examination and Chut Ze returning her son to Tung Wing.  The couple poured out their longing for one another since departure and acknowledged the boundary between the mortal and immortal world and bid farewell sadly.  In the scene where Tung Wing searched for his wife among the fairies, the instant transformation performed by the six fairies dressed in hybrid cloak/court costume leaves a lasting impression the audience.  According to the research of Miss Lam Man-yee, Cantonese Opera troupes in mid-19th century had already had such performing routine.  In the diary of Yeung Yan-shou, it is recorded that while living in Kwangsi, he had watched the hybrid cloak/court costume performance at Yuet Tung Hall on 19th January, 1866 (4th year in Tongzhi era in Qing dynasty).  He further pointed out that A Fairy Returns Her Son to the Mortal Father was a must as an opening number in Cantonese Opera tradition.  As such, we can see that hybrid cloak/court costume performing routine has existed in Cantonese Opera 150 years ago.

 

Performers (in order of appearance)

 

Enlightenment of the Goddess of Mercy

King Miu-zong: Liu Kwok-sum, Lui Hung-kwong
Queen: Ko Lai
First Princess: Juliana Kwan
First Prince Consort: Lau Yu-feng
Second Princess: Lee Yee-lok
Second Prince Consort: Doris Kwan
Miu-sin: Chan Ho-kau (30 Jun, 1 Jul), Chan Wan-hung (30 Jun), Zeng Hui (1 Jul), Wong Chiu-kwan (2 Jul), Tse Hue-ying, Wang Kit-ching, Chui Yuet-ming, Li Pui-yan
Wai To: Lee Lung, Peng Chiquan, Ruan Dewen, Tam Wing-lun Alan
Bodhidharma: Wan Yuk-yu
Old Nun: Chan Suet-yim
Scholar: Leung Siu-ming (30 Jun), Ng Chin-fung (1 Jul), Yuen Siu-fai (2 Jul)
First Eunuch: Man Po-sum
First Palace Maids: Wong Po-fai Frances
Palace Officer: Lam Man-sing
Civil and Military Official: Wan Chi-hung, So Wing-kong, Chan Wing-kwei, Chung Kui-man, Wong Shui-sin, Man Chun-sing
Lantern Bearer and Fan Bearer: Vincy Ng, Chow Lok-tung, Lee Ching-yan, Kali Lam
Palace Maids: Chan Chor-kwan, Leung Fei-tung, Vincy Ng, Chow Lok-tung, Lee Ching-yan, Kali Lam
Eunuchs: Leung Kim-ming, Hui Ka-Kei, Chan Yuen-sum, Kwok Chun-hang
Nun: Cheung Yuen-wan, Tsao Tsai-i, Kwong Shun-yan, Tse Kit-wah Christin
Little Ghost: Tsai Chih-wei, So Premium Jiny
Guard: Man Chun-sing, Chan Yuen-sum, Wong Shui-sin, Leung Kim-ming
Fairy Child: Wan Chi-hung, Kwok Chun-hang
Incarnation of Goddess of Mercy: Leung Fei-tung, Woo Man-ka, Chan Tan-tung

 

— Intermission of 15 minutes —

 

Grand Birthday Celebration at Mount Heung Fa
Blessing by the God of Fortune
A Fairy Returns Her Son to the Mortal Father

Hon Chung-lei: Chung Kui-man
Lui Tung-bun: Szeto Chui-ying
Cheung Gor-low: Wong Hok-chiu
Imperial Brother-in-law Cho: Mok Shing-lun
Iron-clutch Lee: Yat Dim-hung
Hon Sheung-tze: Thomas Law
Lam Choi-wo: Chin Shan
Fairy Ho: Choi Yuen-ling
Fairies (in stroke order): Wong Hai-wing, Man Shuet-kau, Wang Kit-ching, Tanya Kong, Li Pui-yan, Vincy Ng, Ng Man-ting, Lee Ching-yan, Ng Wing-lam Vina, Kali Lam, Lin Xinling, Chow Lok-tung, Lin Yingshi, Chui Yuet-ming, Mock Sum-yee, Leung Sum-yee Angel (30 Jun, 2 Jul), Leung Fei-tung, Chan Tan-tung, Cheung Yuen-wan, Tsao Tsai-i, Chan Kei-ting, Chan Chor-kwan, Liang Yanxia, Wong Yeuk-ning (1 Jul), Wong Po-fai Frances, Wan Yin-ling, Chor Ling-yan, Cheng Wing-mui, Lo Lai-see, Kwong Shun-yan, Tse Kit-wah Christin, Tse Hue-ying, Juliana Kwan
East Dragon King: Kim Lun
South Dragon King: Chu Siu-yat
West Dragon King: So Wing-kong
North Dragon King: Chan Wing-kwei
Fish: Chan Yuen-sum
Pawn: Kwok Chun-hang
Turtle: Ng Lap-hei
Clam: Lee Yee-lok
Turtle Goddess: Leong Yee-lin
Goddess of Pu-tor: Wong Po-huan
Goddess of Mount Lei: Ip Man-ka
Monkey King: Wang Zhiliang
Monkey: Martial arts performers of Hong Kong Cantonese Opera Luen Yue Tong CAAHK and Guangdong Cantonese Opera Institute
Guanyin: Wan Fai-yin (30 Jun, 1 Jul), Tse Suet-sum (2 Jul)
Sudhana: Wong Ho-yau
Dragon Girl: Vincy Ng
Big-head Buddha: Leung Wai-hong Wyborn (30 Jun, 1 Jul), Wong Kwan-lam (2 Jul)
Dragon-subduing Arhat: Li Qiuyuan
Tiger-taming Arhat: Hong Hai
Wai To: Lee Lung (30 Jun), Law Ka-ying (1 Jul), Leung Siu-ming (2 Jul)
Dragon and Tiger: Martial arts performers of Hong Kong Cantonese Opera Luen Yue Tong CAAHK
General: Tam Wing-lun Alan
Minister: Chan Chak-lui
Car Pushing: Chor Ling-yan
Fisherman: Ng Lap-hei
Woodman: Yuen Ying-wah
Farmer: Kwok Chun-hang
Scholar: Lau Yu-feng
Fortune-bringing Boy: Yuen Sin-ting
Treasure-bringing Boy: Wan Chi-hung Cou Bou: Yau Sing-po (30 Jun, 1 Jul), Liu Kwok-sum (2 Jul)
Peach Heart: Law Yat-fai Janson
God of Fortune: Lui Hung-kwong
Tung Wing: Sun Kim-long (30 Jun), Yuen Siu-fai (1 Jul), Law Ka-ying (2 Jul)
Umbrella Bearer: Wan Yuk-yu (30 Jun), Man Po-sum (1 Jul), Kim Lun (2 Jul)
Son: Chan Ka-ming (30 Jun), Cheng Wing-mui (1 Jul), Tang Mei-ling (2 Jul)
Baby Carrier: Wang Kit-ching
Six Fairies:
30 Jun: Li Pui-yan, Lin Xinling, Lin Ying-shi, Chan Tan-tung, Wong Po-fai Frances, Chor Ling-yan;
1 Jul: Man Shuet-kau, Lee Ching-yan, Chui Yuet-ming, Leung Fei-tung, Liang Yanxia, Juliana Kwan;
2 Jul: Wong Hai-wing, Chui Yuet-ming, Ng Man-ting, Leung Sum-yee Angel, Chan Kei-ting, Lo Lai-see
Yamen Runner: Man Wah (30 Jun), Man Kim-fei (1 Jul), Lau Wai-ming (2 Jul), Ngai Ching-wan, Doris Kwan, Lau Yu-feng
Flag Bearer: Wong Shui-sin, Leung Kim-ming, Hui Ka-ki, Man Chun-sing
Chorus behind Kau Chuen , Leung Chau Chui and Sam Chun Kam : Chin Yin, Jackie Leung, Sum Yung and performing artists
Martial arts performers (Hong Kong): Hon Yin-ming, Kim Ying, Tsai Chih-wei, Yuen Mo, Wan Wai-kuen, Ling Chit-fai Dick, So Wing-chee, So Premium Jiny, So Premium Ojee, Tso Tak-bo, Ng Kwok-wa, Kwong Tsz-wong, Kwong Shing-kwan, Chi Gai, Mo Huamin, Fu Shuwang, Tsui Chun-ki, Wong Wing-sun
Martial arts performers (Guangdong): Zhou Zhonglian, Su Guojin, Huang Ziyun, Fan Guanhua, Li Zhihang, Pan Jinlong, Chen Huasheng, Wang Yanfei, Li Dehao, Lu Jiang, Wang Ke, Lin Feihong, Fu Zhuoyan, Wang Yeyu, Xu Jikai, Su Linxuan

 

 

The running time of the performance is approximately 3 hours including an intermission of 15 minutes.

 

Information provided by The Chinese Artists Association of Hong Kong

Celebrating the Reunification with Cantonese Opera Classics
Enlightenment of the Goddess of Mercy, Grand Birthday Celebration at Mount Heung Fa
by The Chinese Artists Association of Hong Kong

Production Team

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Thoughts on Organising “Celebrating the Reunification with Cantonese Opera Classics”

2017 is the 20th anniversary of the reunification of Hong Kong with its motherland.  While Cantonese Opera is the most representative traditional performing arts in Hong Kong, we have gathered the concerted effort of the entire Cantonese Opera industry; onstage and behind the scene, to present the programme, “Celebrating the Reunification with Cantonese Opera Classics”.

Hong Kong has retained the richest and most traditional performing elements in Cantonese Opera.  Through the hard work of the elder generations, plus favourable timing, geographical and human factors, this valuable traditional performing art is able to take root in Hong Kong for preservation and passing onto the new generation.

Grand Birthday Celebration at Mount Heung Fa is one of the classic traditional set pieces and has been widely performed in various places in Hong Kong in as early as the 1950s.  Up till now, The Chinese Artists Association of Hong Kong will perform this piece every year to celebrate the birthday of Master Wah Kwong, the patron saint of Cantonese Opera. In 1966, a handful of classics including Enlightenment of the Goddess of Mercy and Grand Birthday Celebration at Mount Heung Fa were staged at the bamboo theatre at Kowloon City Sa Po Road.  It was a grand event in the Cantonese Opera circle at that time and our generation was most fortunate to be able to take part in it.  The performances have been videotaped but some of the precious footages have gone missing and only approximately 60 percent of the original footage has been retained in the existing version.

As this performance will take place on the anniversary day, we take the opportunity to reconstruct the script for Enlightenment of the Goddess of Mercy and mobilize over 100 actors/actresses of different generations to take part in this celebratory event.  Meanwhile, we also hope to reunite the Cantonese Opera industry as well as to preserve and pass on this valuable tradition to let more audience have the chance to enjoy the treasure of traditional Cantonese Opera.

There are different folk legends on Guanyin.  The theatre version of Enlightenment of the Goddess of Mercy is based on the popular folk legend about Princess Miu-sin’s practice of the Buddhist way and enlightenment to become Guanyin.  This story is widely popular in Cantonese Opera and South China.  Guanyin is depicted as affectionate and filial, a spiritual symbol guiding people to goodness that deserves our deep respect.

One of the highlight of this performance is we have invited veteran actress Chan Ho-kau who had played Princess Miu-sin in the 1966 performance to re-enact the important scene where Miu-sin polishes the iron pillar into needle.  Audience will be able to see Chan’s elegant demeanour which remains as before over these 50 years.  As for Grand Birthday Celebration at Mount Heung Fa , we are fortunate to have veteran actor Yau Sing-po to play the role of Cou Bou.  Another highlight is the rarely-seen acrobatic feat of “weaving” performed by over 30 martial arts performers, from Hong Kong and Guangdong Cantonese Opera Institute, in a variety of stylized fashions which is a great treat to the eyes.  For the “fairy dance” part, it is the first time to arrange as many as 32 actresses to play fairies to perform traditional Chinese characters dance to display words of blessings to pray for harmony and stability in Hong Kong as well as prosperity and happiness for the people.

“Celebrating the Reunification with Cantonese Opera Classics” is one of the largest-scale performances in Hong Kong Cantonese Opera circle in recent years with over 200 participants on and off stage.  We are most grateful to the hard work of the coordination team including members Li Chi-kei, Yuen Siu-fai, Lee Lung, Sun Kim-long and Loong Koon-tin over these months, as well as the support of The Chinese Artists Association of Hong Kong Board of Directors under the leadership of Chairman Liza Wang so that the organisation work for the performance can be conducted smoothly.

We have also invited Peng Chiquan from Guangdong and Zeng Hui from Macao to participate in the performance.  With talents from the three regions joining hands to present this large-scale event, it represents the close ties between the regions.  It is hoped that apart from enjoying the actors/actresses’ performance, the audience will also appreciate the essence of traditional Cantonese Opera and treasure this unique Hong Kong intangible cultural heritage.

Law Ka-ying
Representative of the Celebration Event Coordination Team of The Chinese Artists Association of Hong Kong

 

Celebration Event Coordination Team of The Chinese Artists Association of Hong Kong: Law Ka-ying, Yuen Siu-fai, Lee Lung, Sun Kim-long, Loong Koon-tin, Li Chi-kei
Production Manager: Wong Siu-sang, Lam Hak-fai, Lam Kwan-ling
Stage Manager: Mang Kam-chuen, So Chi-cheong, Cheng Shui-wah
Ensemble Leader/Vocal Coach of Paiji in Grand Birthday Celebration at Mount Heung Fa: Ko Yun-hung
Percussion Leader: Ko Yun-kuen
Martial Arts Instructor: Hon Yin-ming
Choreography: Yeung Chi-kuk
Set and Lighting: Kwong Hing Stage Scene Production Company
Costume and Props: Kam Yi Costumes Company
General Affairs: Chan Kin-yat, Chan Fong-fong
Photography: Annie Chow, Martin Wong

Participating Organisations: Guangdong Cantonese Opera Institute, Guang Dong Ba He Assembly Hall, The Hong Kong Academy for Performing Arts
Screenplay/Libretto Arrangement: Law Ka-ying
Screenplay Arrangement Assistant: Wong Po-huan

The Chinese Artists Association of Hong Kong would like to thank the following people for their contribution to this programme: Yau Sing-po, Choy Hin-heong, Chui Hung, Zhong Zheping, Ye Zhaobo, Lau Kar-wing, Tam Siu-wai, Lum Man-yee

Celebrating the Reunification with Cantonese Opera Classics
Enlightenment of the Goddess of Mercy, Grand Birthday Celebration at Mount Heung Fa
by The Chinese Artists Association of Hong Kong

Performing Group

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The Chinese Artists Association of Hong Kong

Ba Wo Wui Gun (The Union of Cantonese Opera practitioners) was founded in the Qing Dynasty during the reign of the Emperor Guangxu. With a history of 130 years, it has always been a professional organisation for Cantonese Opera practitioners in Guangdong Province. In 1953, the Union’s Hong Kong branch registered itself officially as The Chinese Artists Association of Hong Kong. Not only has the Association aimed at promoting the arts of traditional Cantonese Opera, it has also been concerned about the professional development of the opera practitioners. In 1980, the School of Cantonese Opera of the Association was founded to nurture young talents. In 1996, the School renamed as The Cantonese Opera Academy of Hong Kong Limited and became a charitable organisation. Registered as a charitable organisation in 2009, the Association has also actively participated in charitable events in the community and organises charity performance, and is the Venue Partner of Yau Ma Tei Theatre.

Chairman’s Words

Established in 1953, The Chinese Artists Association of Hong Kong is a professional organisation for Cantonese Opera practitioners.  As it grows alongside with Hong Kong, the Association has not only undergone different phases of development in the opera industry but also witnessed the events taken place in these 20 years since the reunification with the motherland, including the implementation of the historical pioneering work of “one country, two systems” and “Hong Kong people ruling Hong Kong”.

Throughout the past 64 years, the Association has had different priorities of development according to the need of the industry and changes in the social environment.  With Hong Kong’s reunification with the motherland and Cantonese Opera being listed as Intangible Cultural Heritage by the United Nations, the Hong Kong Special Administrative Region (HKSAR) Government acknowledges the development of Cantonese Opera and the need of the industry.  Support has been rendered in both hardware and software aspects achieving substantial improvements in terms of performance venues and supporting facilities which enable the Association to start massive propagation work.  For further development, the Association reviewed the positioning of the Cantonese Opera Academy of Hong Kong in 2008 and mapped out new strategies by launching two very important courses; namely Cantonese Opera Playwright Class and Cantonese Opera Young Performer Training Class to provide systematic training to playwrights and young performers.  In 2009, the Association has been successfully registered as a charitable organisation in the hope of furthering the propagation and promotion work.  With the support of Leisure and Cultural Services Department and Cantonese Opera Development Fund, “Yau Ma Tei Theatre Venue Partnership Scheme: Cantonese Opera Young Talent Showcase” was implemented in 2012.  Through the organisation of over 100 performances every year, it is hoped that a new generation of Cantonese Opera artists, both onstage and behind the scene can be nurtured.  The scheme has been implemented since 2012 and 664 performances have been presented covering more than 140 civil and military repertoires.  The effort of the Association in propagation work in the last 10 years finally seems to pay off.  A new generation of Cantonese Opera artists begins to gain wide attention from the audience while new talents continue to publish their new works.  We sincerely hope that both the old and young generation of artists can stand on the stage of the future West Kowloon Xiqu Centre to show the audience from around the world the quintessence of local Cantonese Opera.

To preserve and propagate, the Association places great emphasis on the learning of traditional set pieces and routines by the young performers.  Arrangements will be made for new talents to take part in relevant performances.  In the event of celebrating the 20th anniversary of the reunification with the motherland, the Association has called upon the entire industry to present the programme “Celebrating the Reunification with Cantonese Opera Classics”.  Apart from showing the strength of the industry, it also shows the result of the Association’s work in propagation.  First, we have to collate the librettos and performances for Enlightenment of the Goddess of Mercy and Grand Birthday Celebration at Mount Heung Fa.  This includes the reconstruction of scenes and set tunes which have gone missing such as the “weaving” scene as well as the traditional set tunes of Kau Chuen , Leung Chau Chui and Sam Chun Kam.  On top of this, we specially invite performers from different generations to take part in the performance to let the young artists have the chance to upgrade themselves through working with the older generations.  Lastly, we are most fortunate to be able to have the Guangdong Cantonese Opera Theatre, Peng Chiquan from Guangdong and Zeng Hui from Macao to join us in the performance.  Elites from three regions joining hands to exchange will surely bring about a wonderful performance to the audience.

Through the exchange and cooperation of artists of different operas, I do believe it will have a positive impact on the development of local Cantonese Opera.  The upcoming West Kowloon Xiqu Centre will serve as a platform to show audience from around the world quality Chinese opera programmes.  With the well-known annual events of Leisure and Cultural Services Department’s Chinese Opera Festival and the Hong Kong Arts Festival where many Chinese opera groups are invited to perform, Hong Kong will definitely become a base for showcasing outstanding Chinese operas.  The Cantonese Opera industry should work harder by first of all producing more good shows in our own arena, Hong Kong then promoting it to different places.  Exchange should work both ways.  Our artists and opera groups should also go elsewhere to perform to let the audience there understand the art of Cantonese Opera.  Therefore in the past two years, the Association has organised exchanges with the opera groups of different cities including Hangzhou, Chongqing, Chengdu, Beijing and Taipei where participants all agreed they have gained much.  I sincerely hope that more exchanges could be arranged in future between the HKSAR, the municipal and provincial governments of the country through different sponsoring mechanism and channels for performances, lectures and seminars to provide chances for artistic workers and audience to know and appreciate one another.  While promoting exchanges and developing culture and arts, it also works for the building up of a more harmonious and prosperous nation.

The successful presentation of “Celebrating the Reunification with Cantonese Opera Classics” is made possible by the concerted effort of over 200 industry co-workers as well as the hard work of the coordination team which includes Li Chi-kei, Lee Lung, Yuen Siu-fai, Sun Kim-long, Loog Koon-tin and Law Ka-ying.  A note of thanks must also be made to the Leisure and Cultural Services Department for inviting the Association to organise and produce this programme.  Without government support, the industry is unable to stage such a grand and meaningful production.  Last but not least, I must thank the audience.  It is your practical support that makes this precious intangible cultural heritage of Cantonese Opera to be able to pass on.

Dr. Liza Wang
Chairman of The Chinese Artists Association of Hong Kong

Celebrating the Reunification with Cantonese Opera Classics
Enlightenment of the Goddess of Mercy, Grand Birthday Celebration at Mount Heung Fa
by The Chinese Artists Association of Hong Kong

Music for Cantonese Opera Classics

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Reconstruction of Music for Cantonese Opera Classics

The Chinese Artists Association of Hong Kong will present the full-length Cantonese Opera classics Enlightenment of the Goddess of Mercy and Grand Birthday Celebration at Mount Heung Fa.  Through the reconstruction (especially the “Mount Heung Fa” part) of music for the classics, we hope to try our best to utilize our Cantonese Opera background and years of performing experience to make the lost treasures regain their glamour and shine again.

Reconstructing Lost Singing Parts
With the passage of time, set tunes for some traditional repertoires have almost gone missing.  For the sake of preservation and inheritance, we strive to dig and excavate, like working on dusty earth, to reconstruct the original.  Among them, lyrics for the set tunes Kau Chuen, Leung Chau Chui and Sam Chun Kam have been forgotten.  After our reconstructing, the performers are given instructions to focus on the tempo and charm of the lyrics.

Prescribed Set Tunes
The part “The Eight Immortals Bestowing Longevity” in the “Mount Heung Fa” is different from Birthday of the God of Venus, we thus have to use the prescribed set tune Sun Shui Ling in the “Mount Heung Fa”.  We also pay attention to the coordination and restriction of tunes and tempo for each appearing immortal.  In recent years, only one of the two prescribed set tunes for the entrance of the four dragon kings has been used whereas the other one has almost gone into oblivion.  Therefore we will revive both set tunes for the entrance of the dragon kings in this presentation.  Other part like the banquet scene of the Goddess of Mercy and the immortals before the entrance of Monkey King has been deleted long time ago.  We will revive it and stick to using the original set tune Pai Gor.  As for the last part Cou Bou Scattering Coins, we will adopt the prescribed longer tune Sam Chun Kam from the beginning to the end of the scene.

Adaptations in Performance
Due to the time limit in modern theatre, we have to make certain adaptations in performance.  Musicians tend to use certain Cantonese tunes randomly in the past.  In this presentation, we will meticulously adopt appropriate tunes for each character according to their identity.  First of all, for the first appearance of the Three Holy Goddesses, instead of the simpler tune Shui Pai as indicated in the information, we choose to use the grander tune Siu Hoi Mun to highlight the prestigious status of the Three Holy Goddesses.  For the part on the meeting of immortals to offer greetings, the routine adopted nowadays is a somewhat abbreviated version.  We will revive the original routine this time.  We have thought of using the tune Pai Dui Dui to meet the longer time required for the moves but as this tune is prescribed for the famous set piece The Imperial Emperor of Heaven Holding Court, we finally decide to use Fung Yap Chung which is suggested by late maestro Ko Kun, followed by Chu Lo Yi and Tai Mei Shing.  To save time, the parts on “fairy dance” and “big-head buddha” will be simplified by eliminating repeated routines while the immortals will arrive at the same time instead of separately to greet the Goddess of Mercy.  We will borrow the tune Leung Chau Chui (prescribed tune for Eight Immortals Bestowing Longevity) for the immortals to greet the Goddess one by one and do away with the repeated routine.

Law Ka-ying & Ko Yun-hung (recorded by Tse Hue-ying)

 

Celebrating the Reunification with Cantonese Opera Classics
Enlightenment of the Goddess of Mercy, Grand Birthday Celebration at Mount Heung Fa
by The Chinese Artists Association of Hong Kong

Commentary on a Collated Edition of Grand Birthday Celebration at Mount Heung Fa: with Punctuations

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General Principles:
1. To maintain the original, revision is made mainly on wrongly written characters and parts that do not make sense.
2. Views of Master Ko Yun-hung, music leader of this programme are also taken into consideration.
3. For details of reference works, see the introductory notes to each piece.

Kau Chuen, edition from the collection of Ko Yun-hung
This tune is borrowed from another Cantonese Opera set piece (short piece for special occasion not otherwise performed on its own) Eight Immortals Bestowing Longevity (also known as Birthday of the God of Venus ).  Sung by the eight immortals, it tells of the immortals’ daily practice of meditation and making alchemical elixir.  They are leaving their residence at the Fairy Island riding upon mist and clouds to go to offer birthday greetings to the Goddess of Mercy and present an extraordinary thing at the banquet.  Reference is made to Wong To’s (1913-2015) script of Birthday of the God of Venus .

It takes time to practice meditation and make the elixirs of life,
wait until the time to depart from the Fairy Island,
offer precious gift at the banquet.
Colourful clouds disperse,
auspicious clouds accumulate.
The sky is so bright,
like the youth.

¹ “Instant separation” revised as “disperse” with reference made to Wong To’s edition of Birthday of the God of Venus , “disperse” referring to the breaking up of the colourful clouds after formation.
² “Remaining haze” revised as “accumulate”, reference is drawn from Tao Yuan-ming (Jin dynasty)’s poem, “Clouds accumulate, how misty is the timely rain!” ³ Wrongly written character.

 

Leung Chau Chui, edition from the collection of Ko Yun-hung
This tune is sung when the eight immortals offer birthday greetings to the Goddess of Mercy.  There are certain incomprehensible parts but the main idea can still be grasped.  The first line is to wish the goddess longevity by making reference to the idiom about the house where chips recording changes are kept.  It is followed by raising cups to toast and getting drunk happily.  Later it talks about the life of the immortals as compared to the unpredictable fortune in the mortal world. It ends with birthday greetings.

Wish you longevity like the house with the chip of changes.
Have Mount Sungshan to protect and star Venus to shine.
Goblets of good wine are held high,
get drunk with colourful dances,
gather together for a cup of wine.
See the world within the wine pot,
almost forget mercury and the pill of life,
how funny, how funny,
it’s like riding upon phoenix carriage around the Fairy Island. Fortune in the mortal world is beyond expectation,
let it be granted by celestial decree today.
Wish for thousand and hundred years of life,
and great strength.

⁴ Wrongly written character, reference is drawn from Yeung Man-li (Sung dynasty)’s poem, “as the abbot god of fire apply black colour, immortals advise with good wine from a distance.”
⁵ Wrongly written character, reference is drawn from Fung Yin’s Chronicles, “when gentry attain official rank or retire, friends and colleagues gather to celebrate with good food, wine and music.”
⁶ Wrongly written character, reference is made to Chapter 40 in The Water Margin, “the next day, another man invites him to have a cup of wine.”
⁷ Wrongly written character, another name for mercury in Taoist alchemy, usually used in conjunction with “baby” which is another name for lead, reference is made to Chapter 19 in Journey to the West , “lead and mercury is fit for yin and yang.”
⁸ Wrongly written character.

 

Sam Chun Kam, transmitted by drummer Wu Sang from the collection of Ko Yun-hung
This tune and lyrics can be found in the printed editions and manuscript of the folk play of Mulian and festival play of the court in Ming, Ching dynasties and the early Republic from Anhui, Jiangsu and Hunan provinces.  The story of Mulian rescuing his mother is first seen in Buddhist classics.  Based on zaju drama, tales on Buddhist themes and legends, Cheng Chi-chun (Ming dynasty 1515-1595) adapted the story into the play Mulian Rescues His Mother and since then it has been widely popular everywhere.  During Ching dynasty, the Mulian play entered the court.  The edition transmitted by Cantonese Opera musician Wu Sang (Wu edition) is almost identical to the printed versions and manuscript mentioned above.  This tune is sung when the big longevity peach splits open.  It tells of the mortal beings’ pursuit of fame and fortune as well as sufferings of pain and turmoil.  Advice is thus given to them to practice the Buddhist way so as to be enlightened sooner.  It ends with the immortals wishing the goddess longevity again.  Reference is made to Cheng Chi-chun’s Mulian Rescues His Mother printed in 1579 (the 7th year of the Manli era of the Ming dynasty).

Heaven and earth is like a cycle of meaningless toil,
people in the mortal world have to suffer.
Those in the back try to make up,
those in the front are all perished.
Everyone in the world has high ambition,
fight for fame and fortune,
suffer hardship and turmoil.
Only Cheung Chi-fang can see through the tumultuous world,
follow Chichungchi to learn the way of Taoism.
Marquis Han is too foolish to rely on his meritorious achievements,
too late to regret by the time the hound is cooked when the hare has been run down.
Yet the obsessed ones struggle on to fight,
cling to wine and pleasure,
No! No!
Mortal beings can at best enjoy hundred years of happiness,
it is nothing compared to eternal happiness of us immortals.
Regret not learning the Buddhist way earlier,
recite the Heart Sutra,
Paramita, Paramita.
Hear celestial music upon the clouds,
golden music stones are hit together.
Parrots chanting the mantras,
Mahakarunikaya,
Kala, Mahaniva,
Nayasvaha, Svaha.
Left the palace, left the palace,
enlightenment is attained through hard training.
Spray sweet dews with willow branches,
get rid of troubles to relieve the mass.
Those who believe will enjoy freedom and happiness,
those who don’t are unable to escape from predestined disasters.
Good and evil will always be rewarded,
like bees making honey,
silkworms weaving cocoons; moths beating at lamps.
Take my advice and turn back sooner,
devote more time to recite the scriptures,
enjoy eternal happiness after this life.
Flowers blossom on the Bodhi tree,
forever spring and eternal youth.
Look beautiful under the bright sun and clouds,
fragrant light wind blows softly.
Let us pray together,
wish for longevity and abundant blessings.
Wish for longevity and abundant blessings,
what a nice gathering upon Mount Heung Fa,
wish for prosperity and added years of life,
enjoy immortality like heaven and earth.

⁹ The word “like”is added to make the meaning complete.
¹⁰ According to the Cheng edition, the first seven lines are sung by Guanyin.
¹¹ The phrase in both the Wu and Cheng edition means the same, “suffering”. Taking Master Ko’s view, the phrase in the Cheng edition is adopted as it sounds more classical.
¹² Wu edition reads “fame and fortune”. It is revised as “illusory fame and fortune” according to the Cheng edition to emphasize its uselessness.
¹³ Wrongly written character, according to the Cheng version, from the next line up to “…when the hare has been run down” is sung by the Heavenly Empress.
¹⁴ Wrongly written character, referring to opinion held above the tumultuous world.
¹⁵ Wrongly written characters to make the meaning complete, referring to Cheung Chi-fang (d.186 B.C.) following Chichungchi to practice the way of Taoism.
¹⁶ Revision is made according to the Cheng edition and the literary allusion, “the hound is cooked when the hare has been run down.”
¹⁷ According to the Cheng edition, from this line up to “No! No!” is sung by Guanyin.
¹⁸ “Cling to pleasure because of wine” is revised as “cling to wine and pleasure” according to the Cheng edition.
¹⁹ According to the Cheng edition, from this line up to “eternal happiness of us immortals” is sung by the Heavenly Empress.
²⁰ Revision is made according to the Cheng edition to make the meaning complete.
²¹ According to the Cheng edition, from this line up to “Recite the Heart Sutra” is
sung by Guanyin.
²² According to the Cheng edition, from this line up to “Svaha” is sung by the chorus.
²³ “See celestial music upon the clouds” is revised as “hear celestial music upon the clouds” according to the Cheng version.
²⁴ Wrongly written character, revised as “hit” according to the Cheng edition, referring to the hitting of the music stones.
²⁵ “Oriole” is revised as “parrot”. Birds are often used as symbols in Buddhism for spreading the Buddhist way.
²⁶ Words after “parrot” are transliteration of the Sanskrit language according to the Cheng edition. Revision is made according to the Cheng edition as the words are often used in transliteration of Buddhist scriptures.
²⁷ According to the Cheng edition, from this line up to “enjoy eternal happiness after this life” is sung by Guanyin.
²⁸ Revision is made according to the Cheng edition, “enlightenment” here refers to Buddhist enlightenment. To save the masses, Guanyin chooses to return to the mortal world to suffer and after years of hard training, she finally attains Buddhist enlightenment. The following line, “spray sweet dews with willow branches” refers to Guanyin’s compassion and mercy.
²⁹ Revision is made according to the Cheng edition; the phrase comes from Avatamsaka Sutra .
³⁰ Wrongly written character, “brewing honey” should be “bees making honey”.
³¹ Wrongly written character, “become cocoon” should be “weaving cocoon”.
³² According to the Cheng edition, lines after this belong to another set tune Chui Yung Chi. From this line up to the end is sung by the chorus.
³³ “Auspicious light” is revised as “glow of clouds” which refers to the light refracted by the sun upon the clouds.
³⁴ Revision is made according to the Cheng edition to make the meaning complete. The previous line contains seven characters, so this line should also be the same to make the two lines into a couplet.
³⁵ Wrongly written character. In both the Wu and Cheng edition, this line is to be repeated. Yet considering Master Ko’s view on music effect, it is only sung once. The next line is to be repeated.
³⁶ Wu edition reads “the five elders of Mount Heung Fa come together”, but there
are no such characters in the Grand Birthday Celebration at Mount Heung Fa. Revision is made according to the Cheng edition that this line up marks the beginning of the finale.

Collations, commentary and punctuation: Lum Man-yee
Translation: Jeanie Wong

 

Celebrating the Reunification with Cantonese Opera Classics
Enlightenment of the Goddess of Mercy, Grand Birthday Celebration at Mount Heung Fa
by The Chinese Artists Association of Hong Kong

Ticketing

 

Grand Theatre, Hong Kong Cultural Centre

30/6 & 2/7 Fri & Sun 7:30pm
1/7 Sat 2:30pm

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$450 $350 $250 $150

 

 

 

With Chinese and English surtitles
Please refer to the "Extension Activities" page for details of extension activities
The running time of each performance is approximately 3 hours including an intermission of 15 minutes.

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