In recent years, Véronique has been proud to sing with major companies including Chicago Opera Theater, Chicago's Music of the Baroque, Bach Collegium San Diego, Salt Marsh Opera, and Opera Lafayette, with whom she made her Kennedy Center and New York City debuts. She has spent two summers with Central City Opera ,and she looks forward to her debut with Des Moines Metro Opera as L'Amour/La Folie cover (PLATÉE). In the 2020/21 season she will be in residency with Opera Santa Barbara.
Praised for her “warm, sumptuous sound” and “radiant vocal ease,” French-American soprano Véronique Filloux was thrilled to spend her summer with a return to Central City Opera as an Apprentice Artist, lending her "expressive, lovingly shaded soprano" (Opera News) to the title role in Debussy's La damoiselle élue and winning the company's Apprentice Artist Award. She also performed as a soloist in ENCORE: A Musical Revue and gave a recital alongside program director Michael Baitzer, showcasing the works of Walton, Laitman, Argento, and Debussy. Looking ahead to the 2019/20 season, she will perform solos in Carmina Burana with the Champaign-Urbana Symphony Orchestra and in Handel's Messiah with Bach Collegium San Diego. She returns to Chicago's Music of the Baroque as Pales in Bach's secular Hunt Cantata (Was mir behagt...) and La chasseresse/Aricie in excerpts from Rameau's Hippolyte et Aricie. She then joins Opera Lafayette for two productions, performing in New York City, Colorado, and Washington DC's Kennedy Center. She sings Shepherdess/Soprano Soloist in Venus and Adonis and Jeannette in a new bilingual adaptation of Philidor's Le maréchal ferrant/The Blacksmith. She also debuts with Salt Marsh Opera as Clorinda in La Cenerentola. Active in competition, Véronique received an Encouragement Award from the Capitol District of the Metropolitan Opera National Council Auditions and is the proud winner of the Lynne Harvey Foundation/Virginia Cooper Maier Award from the Musicians Club of Women. She looks forward to her debut with Des Moines Metro Opera this summer, singing L'Amour and covering La Folie in Platée, and a residency with Opera Santa Barbara in the 2020/21 season. She will sing Annina (La traviata) and Amy March (Little Women) and will cover Marie in La fille du régiment.
Véronique began her 2018/19 season with the success of making her Central City Opera mainstage debut as Papagena (Die Zauberflöte) and winning the prestigious Central City Opera Young Artist Award, the company's top prize, at the end of the season. While with the company, she also performed as a soloist in their Opening Night Gala, Short Works Series, and ENCORE: A Musical Revue. Her season marked soloist debuts with several prestigious organizations, including Opera Lafayette, with whom she made both her Kennedy Center debut and New York City debut as Tigrane in Handel’s Radamisto. After covering Brigitta (Iolanta) and Doodle (The Scarlet Ibis) with Chicago Opera Theater, she returned to the Maryland Opera Studio as a guest alumna to sing and dance the role of Mae Jones (Street Scene). She went on to sing the music of Handel (Dixit Dominus) and Purcell (The Fairy Queen) as a soloist with Chicago’s Music of the Baroque in May. In competition, Véronique was a winner of the Musical Merit Foundation Scholarship Competition, audience favorite in the Opera NEO Competition, and First Prize Winner in the Saltworks Opera Competition.
An alumna (MM '18) of the Maryland Opera Studio, she appeared as Servilia (La clemenza di Tito), Soeur Constance (Dialogues des Carmélites), Lucia (cover, The Rape of Lucretia), and Amore (cover, Orfeo ed Euridice). She also originated the role of Lily in the world premiere of Hennessy/Rowan’s The Young King and gave scenes performances as Norina (Don Pasquale), Mrs. Fiorentino (Street Scene), and Blonde (Die Entführung aus dem Serail). Upon her graduation, she was awarded the prestigious Daniel L. Pomeroy Prize for excellence in scholarship and performance of 17th and 18th century music. While in school, Véronique was also an active concert soloist, joining the Apollo Chorus of Chicago for Orff’s Carmina Burana, Ascension & St. Agnes Church for Handel’s Messiah, and the Maryland Bach Cantata Series for BWV 77 and BWV 172. She spent her summer with Opera NEO, with whom she sang the role of Isifile in Cavalli’s Il Giasone and covered Despina (Così fan tutte).
In past seasons, Véronique has been proud to sing the roles of Olympia (Les contes d'Hoffmann), Annina (La traviata), Silberklang (The Impresario), Cis (Albert Herring), and Adele (Die Fledermaus), as well as soprano solos in Poulenc's Gloria, Whitacre’s Goodnight Moon, and BWV 51: Jauchzet Gott in allen Landen. An avid performer of new work, she has been a part of several US, regional, and world premieres, with organizations ranging from the Chicago Symphony Orchestra to the Bienen Contemporary/Early Vocal ensemble, with whom she was a soprano soloist in contemporary oratorio lost objects (Gordon/Lang/Wolfe) at the Pritzker Pavilion in Chicago’s Millennium Park. Passionate about language and poetry in music, her 2014 interdisciplinary project, “e.e. cummings and Contemporary American Song,” was a Northwestern University grant winner. She graduated from Northwestern in 2015, magna cum laude, with degrees in Voice/Opera Performance and Operatic Languages (ad hoc).