Interview by William Chan
The ancient art of Cantonese opera, or Yueju, found a vibrant stage last month at 10 Fantasia on Calçada da lgreja de S.Lázaro as the “I Cheng Nga Choi Cantonese Opera of Macau” (澳門怡情雅敘粵劇社) hosted its annual event.
The event, which featured a diverse programme of excerpts and songs, alongside interactive elements like makeup demonstrations and costume displays, served as a powerful reminder of the art form’s enduring appeal in a city dominated by modern entertainment.
Having met several artistes during the event, I had more opportunities to talk to them during the Christmas holidays about their experiences of staging Cantonese opera performances in Macau.
Cantonese opera actor Tang Va Chio recalled how he and his peers were deeply inspired by the art form in its golden age in the 1950s and 60s. Growing up during this vibrant period – considered the peak of Cantonese opera’s development – they were immersed in a cultural landscape where opera was mainstream, thriving in live theatre, film, and popular media. Iconic works by playwrights, combined literary depth with unforgettable music, while legendary performers became household idols.
For Tang and his generation, Cantonese opera was more than entertainment – it was a cherished childhood memory that sparked a lifelong passion, eventually leading them to actively seek training and take the stage themselves. This collective nostalgia forms the emotional and artistic foundation of Macau’s older generation of Cantonese opera practitioners.
The group’s core figure, Un Son Kun, another veteran opera enthusiast, embodies the spirit of dedication that keeps the tradition alive. Since co-founding the organisation in 2004, Un has championed the promotion of Yueju, curating annual performances and using the proceeds for charity. Her commitment is rooted in a deep understanding of Macau’s unique operatic style, which she describes as a “hybrid of mainland and Hong Kong interpretations.” While mainland troupes benefit from systematic, professional training, Hong Kong’s style is often more natural and life-like. Macau’s amateur groups, drawing from both, have developed a flexible, adaptive approach.
The technical brilliance required to sustain a performance is often hidden backstage. Tang Chi Kin, the Gong and Drum Master, highlights the subtle, yet crucial, non-verbal communication between the actor and the band, known as the “Shadow Cue”. This cue – a slight hand gesture or movement – signals the bandmaster to strike a specific rhythm, ensuring the music perfectly aligns with the actor’s movements. Tang, who pursued advanced studies in Guangdong and Hong Kong, emphasises his role as the stage’s “master controller” (Zhuo Ban), who must constantly “save the day” by adjusting the tempo and rhythm to the actor’s state.
He also dismisses the notion that Western instruments are a modern intrusion, noting that many Yueju pioneers introduced the violin decades ago, arguing that true innovation lies in orchestration and harmony, not just the choice of instrument.
Equally vital is the transformation in visual artistry. Makeup artist and actress Lam Pui I details the shift from traditional, skin-damaging oil paints to modern, waterproof cosmetics. This change, which she calls huge, allows for greater durability and better skin health for the performers. Lam’s work involves the deliberate use of exaggeration and line work – such as a slanted eyeliner for a villain or a spirited look for a loyal character – to instantly convey the character’s identity and temperament to the audience.
The story of Cantonese opera in Macau is one of resilience and adaptation. It is a testament to the dedication of individuals who, despite operating under amateur conditions, strive for professional excellence. As Un appeals to the government to show “sincerity and resources” to support local development, the Cantonese opera group continues its mission at the 10 Fantasia gallery, ensuring that the unbroken melody of Yueju continues to resonate in the heart of Macau.
This undated file photo shows Cantonese opera actress Un Son Kun posing
Cantonese opera actor Tang Va Chio poses at 10 Fantasia in November. – Photo: Odia Lei
Tang Chi Kin, a Gong and Drum Master, poses in an undated file photo. – Photos provided by interviewees
This undated file photo shows makeup artist and actress Lam Pui I posing.
