After years of a European stint, acclaimed Milan-based spinto soprano Christiana “Tinette” Serafin de Ocampo returns to Manila for a two-month series of homecoming concerts on June 13 and 14, July 11, and August 8.
The series should establish her Asian base as she continues an international career across Europe, and her dialogue with audiences and emerging singers in the Philippines and Asia-Pacific.
The schedule of de Ocampo’s performances: Encore!, an evening of opera arias by Verdi, Puccini, Wagner, Strauss, and Massenet, with Dr. Peter Porticos on the piano, June 13, 6 pm at the Manila Pianos Showroom, 4/F Ronac Lifestyle Center, Paseo de Magallanes, Makati City. (Call +63917-4158876 for tickets)
Celli Sentimental features works by Haydn, Mozart, and Villa-lobos, with Damodar Das Castillo on the cello, the Manila Symphony Junior Orchestra, and Dr. Renato Lucas as guest conductor, June 14, 7 pm, Centro De Turismo, Intramuros. (Tickets at Ticket2Me.com)
Opera Up Close: A Concert Lecture Series features Mariel Ilusorio on the piano on July 11, 6 pm, Sunshine Place, Jupiter St., Makati. (For tickets, email sandy.hontiveros@gmail.com.)
Canciones con Guitarra is on August 8, 6 pm, at Varlez Pianos, LGI Bldg., Ortigas Ave., Greenhills. (For tickets, call Richard Sy Facunda at tel. no. (0917) 415-8876 or email rsyfacunda@gmail.com.)
De Ocampo has concluded two very successful concerts: Ritoma Vincitor! Arias Unleashed last April 19 and Curtains Up: Opera Meets Broadway last May 31.
Born in Manila, she initially pursued pre-medical studies at Sarah Lawrence College and later at Columbia University before turning to music. She was awarded a scholarship to the New England Conservatory of Music, where she completed her studies in vocal performance under the tutelage of Edward Zambara.
During her academic years in New York, she engaged in vocal performance, singing and undertaking solo work. She also appeared as soloist in church and concert settings, gaining early experience in sacred and recital repertoire.
In New York, she worked with the renowned Filipino soprano Evelyn Mandac, further deepening her artistic grounding. Following her studies, she began professional engagements in the US, including work with the Washington Opera (now Washington National Opera). She also performed with the Washington Concert Opera, and in concerts associated with the National Gallery of Art in Washington, D.C..
In New York, she worked with the renowned Filipino soprano Evelyn Mandac, further deepening her artistic grounding
During this period, she drew interest from major opera institutions, including the San Francisco Opera. However, due to visa constraints related to transitioning from student practical training to workvisa, she decided to continue her artistic development in Europe. She relocated to Vienna, where she immersed herself in the Germanic vocal tradition and Lied repertoire.
Vienna marked a turning point. She worked with the legendary soprano Hilde Zadek, whose guidance led to her growth as dramatic soprano, with her repertoire focusing on major dramatic roles such as Tosca and Aida.
Her collaboration with pianist Norman Shetler led to deep engagement in the German Lied tradition, including Schubert, Schumann, Brahms, Wolf, Mahler, and Wagner.
In particular, Wagner became a bridge toward a more dramatic repertoire.
She further expanded her French mélodie repertoire with works by Hahn, Fauré, Duparc, Chausson, Poulenc, Ravel, and Debussy, building on earlier studies with Thomas Grubb in New York. Her development continued with Margarita Lilova and later with Wessela Zlateva.
Her Vienna years were also marked by extensive exploration of somatic and movement practices, including the Feldenkrais Method, Alexander Technique, yoga, and rolfing. Initially encouraged by soprano Mandac, she studied multiple yoga traditions, including Iyengar and Bikram, developing a holistic understanding of singing as an integration of body, breath, and mental focus.
She worked with soprano Nelly Miricioiu, who further affirmed her direction as a dramatic soprano. Her performance work during this period included Tosca under conductor Uwe Theimer of the Wiener Volksoper and Musikhochschule, alongside concert and recital engagements across Europe. While her vocal identity did not conform to rigid classification, this period consolidated her artistic voice as a spinto drammatico soprano with a broad interpretive range.
She collaborated with conductor Marc Tardue, who invited her to perform Samuel Barber’s masterpiece Knoxville: Summer of 1915 with the Jenaer Philharmonie.
Over time, she increasingly focused on concert work and pedagogy. During the global pandemic, she relocated to Paris, where she reestablished her artistic base and resumed both performing and teaching.
While in Paris, she worked with Craig Sirianni, whom she credits for strengthening her engagement with spinto and dramatic repertoire. he then met her current teacher Howard Haskin, whose guidance reaffirmed her classification as a spinto drammatico soprano and supported a renewed technical approach based on the teachings of Marie-Henriette Dejean, which integrate physiological and spiritual aspects of singing.
After four-and-a-half years in Paris, she spent a period in Milan dedicated to intensive study and technical consolidation. She now returns to Manila to present a series of concerts and masterclasses, establishing her Asian base while continuing an international career across Europe and expanding her artistic work throughout the Asia-Pacific region.
For further information, check out her social media accounts: Facebook: Christiana Serafin de Ocampo; YouTube: @christianaserafindeocampo; Instagram: https://www.instagram.com/serafinvocalacademy/
