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From the 1930s to the 1970s, the Cantonese opera community witnessed the rise of numerous distinguished veteran performers whose widely acclaimed singing styles, transcending eras, and captivated generations of Hong Kong audiences, from fervent opera lovers to the most discerning commoners. However, in recent decades, singing styles with a personal touch seem to have declined. What is the reason for this decline? To a large extent, this decline is closely related to changes in training methods, musical composition, performance practices, and audience preferences for Cantonese opera. This leads to a thought-provoking question: Is the disappearance of iconic singing styles an inevitable consequence of the evolution of Cantonese opera? As a long-time participant in Cantonese opera and its accompaniment, the author has witnessed the transformation of the Cantonese opera ecosystem. By analyzing these changes, this chapter identifies the essential elements for cultivating individualized singing styles, thus addressing how to preserve the art of “singing”—one of the “four skills” (sigong [四功]) of Cantonese opera. This chapter examines four key dimensions of changes in Cantonese opera performances, including a brief analysis of singing styles, the relationship between performers and chief musicians (頭架師傅), the method of notation of scripts, and the symphonization of Cantonese opera accompaniment. By examining these dimensions that currently hinder the development of innovative singing styles, this chapter hopes to encourage in-depth discussions among practitioners and scholars, opening avenues for revitalizing the artistic heritage of Cantonese opera.