In the early 1920s there were a number of popular and energetic troupes circulating among Guangzhou, Macau and Hong Kong whose work represented Cantonese opera's highest achievements, with outstanding librettos, costumes, music, stage design and acting styles.

The best-known among these troupes were Sit Kok-sin's Kok Sin Sing Opera Troupe and Ma Sze-tsang's Tai Ping Opera Troupe, both of which remained popular until the outbreak of World War II and continually performed a wide repertoire, from classics to new plays.

During this period a number of master performers began to hit the big time. In the '40s, the renowned Sit Kok-sin formed a partnership with Sheung Hoi- mui and her husband, Boon Yat- on, to stage many classic performances. Another master, Lang Siu-kai, founded the Shing Sou Lin Opera Troupe after his original troupe failed in 1939. Among his contract performers were Fong Yim-fun and Hung Sin-nui, later considered the greatest performers of all time.

In the '40s the war brought opera to a standstill, but in its aftermath Cantonese opera regained its momentum, not least because a cheap and handy form of mass entertainment was needed at a time when people were busy rebuilding a devastated economy.

During the '50s and '60s almost all Cantonese operas were performed either in theatres or makeshift bamboo structures throughout the territory. However, the materials used for building these sheds were highly flammable and fires were a common hazard. The situation began to improve in the early '60s when safer and stronger materials became available to replace bamboo for building the sheds.

At the same time, the opera's new derivative, Cantonese opera movies, began to emerge. Many of the era's greatest performers, such as the legendary Sun Ma Sze-tsang, Bai Shu-sin, Yum Kim-fei, Leung Shing-bo, Lam Ka-sing, Fung Wong-nui, Tang Bic-wan, Fong Yim-fun, Ng Kwan-lai, Kwan Tak-hing and Lang Chi-pak appeared both on stage and on the big screen.

The most famous stage operas to make the transition to the movie screen included Yum Kim-fei and Bai Shu-sin's Princess Cheung Ping (1965), which became the biggest hit of all time.

Others included Butterfly Lovers, Legend of the White Snake, Romance of the Phoenix Chamber and Li Hau-chu.

In 1953, the Chinese Artists Association of Hong Kong was founded to promote the welfare of local Cantonese opera troupes and professionals. The organisation still exists and maintains its contribution to the business.

In 1965, a poll was held by radio station Rediffusion and Sing Tao Daily to select the most popular Cantonese opera stars and movies, a campaign which galvanised local interest and became the social sensation of the year. In 1966, a series of Cantonese operas was staged to welcome the visiting Princess Margaret Countess of Snowdon and the Earl of Snowdon.

With the rise of kung-fu action movies in the '70s, however, Cantonese opera suffered its first major setback in the post-war years, one factor being a rising living standard in Hong Kong and a shift in entertainment preferences.

The '70s witnessed a period of rapid economic growth and the rise of a local middle class, which favoured Hollywood movies and Canto-pop over Cantonese opera, which they considered something from the past. For performers, the golden age of Cantonese opera was gone forever.

Cantonese opera was performed frequently beyond the Pearl River Delta and followed the migration of Chinese communities to Southeast Asia. In countries like Singapore, Malaysia and Vietnam, the genre won popularity and a large following among local Chinese communities.

In the '50s, Singapore remained the most popular venue for local opera performers. Stars like Fong Yim- fun, Kwan Tak-hing and Sun Ma Sze-tsang all performed at Singapore's famed Heng Wai Sun, Lai Chun Yuen and Heng Seng Peng theatres.

In Vietnam, grand opera theatres in Cholon and Saigon were once major venues for Chinese opera, and some shows were even staged in local amusement parks.

Cantonese operas found audiences among the Chinese communities in North America during the pre-war years; from the 1850s Chinese operas were performed in San Francisco - the home of the largest Chinese community in the United States.

In the '20s and '30s, operas were continually staged in theatres and community halls in San Francisco, New York, Chicago and Boston.

The most renowned Chinese- American troupes were Jin Wah Sing and Sing Kiu; they invited famous Cantonese performers like Fong Wong-nui, Tam Siu- hung, Kwan Tak-hing and Tam Lan-hing to collaborate on performances for the community.

Graphic: oldhkglo