CHUNG Wai Lye 曾维礼
Performing Arts in Singapore (Opera),
Accession Number 003127
- Oral History Centre
Source
- 3
Total Reels
- Lye Soo Choon 赖素春
Interviewer
- 02:31:50
Total Running Time
- Cantonese
Language
Copyright Notice
All rights to the recordings and transcripts on this website, including the rights to copy, publish, broadcast and perform, are reserved. Written permission is required for any use. If you have any queries, please contact nas@nlb.gov.sg
Reel/Disc 1 of 3
Metadata
- 11 Mar 2007
Recording Date
- 00:54:58
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
*Born in Singapore in 1923, Cantonese. Father interested in Cantonese opera singing, engaged teacher in order to learn singing and playing Yang Qin 扬琴 (Chinese dulcimer). How he learnt opera singing. Various musical instruments used in Cantonese opera during 1930s. Enjoyed Cantonese opera music and singing. His education. How he started learning Cantonese opera musical instrument, using Gong Che Pu (工尺谱traditional Chinese score). Talk about the Chinese score, compare it with numbered musical notation 简谱. How he learnt Chinese score. Father was one of the founders of Tarn Fah Keng Ying Charitable Dramatic Association (昙花镜影剧社amateur Cantonese opera association), brought interviewee to join the Association’s activities. Talk about the Association, described how it was formed and named. Employed professional teacher when Association had performance.
Association used to locate at Club Street. Activities of the Association only performed when there was special event. How performance was arranged and performers were trained. Rented costume and setting from professional troupe. Description of manpower needed for performance. Recall Association’s performance at Lai Chun Yuen (梨春园 Li Chun Yuan, Chinese opera theatre). Ticket price. Talk about pre-war professional Cantonese opera troupes and famous actors. Named other amateur groups. Learnt musical instruments from seniors in the Association. Education background. Learnt western instruments and numbered musical notation in Yang Zheng School (养正学校 Yang Cheng School). Played violin and saxophone in Cantonese opera show during school performance. Western instruments used in Cantonese opera. Talk about vocal and music training. Writing of lyric for opera singing. Why he preferred to use numbered musical notation.
We will get back to your request within 5 working days
Reel/Disc 2 of 3
Metadata
- 11 Mar 2007
Recording Date
- 00:57:16
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
*No activities for Tarn Fah Keng Ying Charitable Dramatic Association (昙花镜影剧社 amateur Cantonese opera association) during Japanese Occupation. Anti-Japanese fund raising activities that he took part. Life during Japanese Occupation. Went through mass screening. Earned a living by repairing motor car for Japanese. The Association resumed activities after Japanese Occupation, why Association’s members focused on singing and not acting. Description of performing for radio and Rediffusion programme. Storage of drummer. Description of arrangement of the performance. Famous professional actors in 1940s. Never cooperate with professional actors. His duties as a Music Director of the Association. Bought song books and wrote score for members in 1950s.
Talk about Dim Ding Ban (点丁板 Dian Ding Ban, tempi) he wrote, included Gong Che Pu (工尺谱 traditional Chinese score) after 1950s. Used numbered musical notation (简谱) in late 1950s. Cantonese opera most popular in late 1950s to 1960s, with active amateur groups. Most members interested in musical instrument, fewer interested in singing. Cantonese opera music mainly came from Hong Kong. Left Tarn Fah Keng Ying Charitable Dramatic Association in 1960s. Joined Musical Section (娱乐股) of Singapore Poon Yue Association (番禺会馆), description of the Section. Performed for radio and private functions of the Association’s members, remuneration was put into Section fund. Duties of Vice-head of the Section. Brought daughter to join the Section. Performances of the Section. Association raised fund to purchase costume. Learnt from performance.
We will get back to your request within 5 working days
Reel/Disc 3 of 3
Metadata
- 18 Apr 2007
Recording Date
- 00:39:36
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
*Continued to talk about duties of Vice-head of the Musical Section of Singapore Poon Yue Association (番禺会馆). Audience of their performances. Cited Liu Guo Da Feng Xiang (六国大封相) as example to express size of manpower needed for a performance, how they engaged external parties to help when there was insufficient people. How money was raised to fund performance. How to decide which script to perform. Left the Association in 1968. Joined Contemporary Singing Section in Kong Chow Wui Koon (冈州会馆), played western instruments. Joined the Cantonese opera group later. Performances of Kong Chow Wui Koon, worked together with Leslie Wong and Joanna Wong, played saxophone. Innovations, new tune patterns, new songs and new setting for performance by Kong Chow Wui Koon in 1970s.
Left Kong Chow Wui Koon together with Leslie Wong and Joanna Wong when they set up Chinese Theatre Circle 敦煌剧坊 (Dun Huang Ju Fang). Left after 15 years. Engaged Chinese orchestra musicians due to shortage of Cantonese opera musician. Feel of Chinese orchestra music and opera music was different. Felt that Singapore Cantonese opera standard was lower than China. Learnt from Cantonese opera movies in 1950s, however not very successful. Prayed to Cantonese Opera god Hua Guang 华光at Pat Wo Wui Kun 八和会馆 before performance. Amateur performance followed strictly according to scripts.
We will get back to your request within 5 working days
