How Chinese Opera Festival can save Cantonese opera’s lesser known art forms from vanishing
- Hong Kong’s ‘Guangdong Quadrangle – Four Folk Music Types in Concert’ show aims to spark interest in some of the historic singing and musical styles
Among the rich and diverse traditions and schools of Chinese opera, Cantonese opera is arguably one of its most well-known art forms among Hong Kong audiences.
It is currently in the spotlight at the city’s 10-year-old Chinese Opera Festival – organised by the Hong Kong government’s Leisure and Cultural Services Department – which runs until August 18 and offers a range of quality programmes from different parts of China to various audiences and opera aficionados.
Our goal is to preserve the four indigenous performing arts of Guangdong – dabayin, narrative singing, Cantonese music and Cantonese operatic songs in classic singing style – that are on the verge of vanishing
Two highly anticipated Cantonese opera productions are being staged at this year’s event.
The newly adapted A Love Poem Stained with Blood, which was given its first two performances last Friday and Saturday at the Grand Theatre, Hong Kong Cultural Centre, will be staged for a third and final time at 2.30pm on Sunday at the Auditorium, Tuen Mun Town Hall.
Guangdong Quadrangle – Four Folk Music Types in Concert will be performed at 7.30pm tomorrow and Wednesday at Hong Kong City Hall, Central, and from July 4 to 7 at the Tea House Theatre, Xiqu Centre, in Tsim Sha Tsui.
The Guangdong Quadrangle show comprises four indigenous performing arts of Guangdong, namely dabayin, narrative singing, Cantonese music and Cantonese operatic songs in classic singing style, which correspond to the four walls of the quadrangle courtyard in Chinese architecture.
Veteran Cantonese opera artist Yuen Siu-fai – who is also in the cast of A Love Poem Stained with Blood – and Chinese music performer Yu Siu-wah will join renowned vocalists in the Guangdong Quadrangle performances in celebration of Cantonese music.
