In recent years, Véronique has been proud to sing with companies including Chicago Opera Theater, Chicago's Music of the Baroque, Bach Collegium San Diego, Opera Lafayette, Salt Marsh Opera, Central City Opera, and Des Moines Metro Opera. She looks forward to her second season as a Pittsburgh Opera Resident Artist.
"As Semele, Véronique Filloux’s voice
GLITTERED BRILLIANTLY, DISPATCHING
HANDEL'S ROULADES AND RUNS WITH EASE
in 'Myself I Shall Adore.' She was equally enchanting in the softer, more gentle lyricism of ‘O sleep, why dost thou leave me?’"
- Seen and Heard International
Praised for her “expressive, lovingly shaded soprano” (Opera News) and “radiant vocal ease” (San Diego Story), French-American soprano Véronique Filloux spends her summer as an Apprentice Artist with Des Moines Metro Opera. Having participated in the company’s 2020 Virtual Festival, she looks forward to singing L'Amour and covering La Folie in Platée in 2021. She also debuts in concert with Salt Marsh Opera. She is thrilled to return to Pittsburgh Opera as a second-year Resident Artist for the 2021/22 season, performing the roles of Papagena (The Magic Flute), The Girl/Luna (The Rose Elf), and Frasquita (Carmen). In her first season with the company, she sang Despina (Così fan tutte), Chan Parker (Charlie Parker’s Yardbird), and the title role in Handel’s Semele. A 2020 winner of the Musicians Club of Women Competition, she presented a recital with the organization in 2021. She is also a Pittsburgh District Winner of the 2020 Metropolitan Opera National Council Auditions, the 1st Place winner of the 2021 Camille Coloratura Awards, the Handel Award winner in the 2021 Orpheus Vocal Competition, the Patricia A. Edwards Encouragement Award winner and Audience Favorite in the 2021 Annapolis Opera Competition, the 2nd Place winner of the 2021 Dorothy Lincoln-Smith Vocal Competition, and a finalist in the Jensen Foundation Vocal Competition.
Véronique began the 2019/20 season with a return to Central City Opera as the 2019 Guild Sponsored Artist, creating a “magical experience” (Opera News) as Debussy’s titular La damoiselle élue and winning the Apprentice Artist Award. She also performed as a soloist in ENCORE: A Musical Revue and gave a recital alongside program director Michael Baitzer. She returned to solos in Carmina Burana, Messiah, and Jauchzet Gott in allen Landen with organizations including the Champaign-Urbana Symphony Orchestra and Bach Collegium San Diego. She also performed Bach’s secular Hunt Cantata and excerpts from Rameau’s Hippolyte et Aricie with Music of the Baroque. On the operatic stage, Véronique returned to Opera Lafayette as Shepherdess/Soprano Soloist in Venus and Adonis. Prior to COVID-19, she was scheduled to debut with Salt Marsh Opera as Clorinda (La Cenerentola) and rejoin Opera Lafayette as Jeannie in the modern premiere of Philidor’s The Blacksmith. In competition, she earned an Encouragement Award from the Metropolitan Opera National Council Auditions (Capitol District) and was the proud winner of the Lynne Harvey Foundation/Virginia Cooper Maier Award from the Musicians Club of Women.
In the 2018/19 season, Véronique made her Central City Opera mainstage debut as Papagena (Die Zauberflöte), winning the Central City Opera Young Artist Award, the company's top prize. She also performed as a soloist in their Opening Night Gala, Short Works Series, and ENCORE: A Musical Revue. She made both her Kennedy Center debut and New York City debut with a “warm, sumptuous sound as Tigrane” (Washington Classical Reivew) in Opera Lafayette'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) and went on to perform the music of Handel (Dixit Dominus) and Purcell (The Fairy Queen) with Music of the Baroque. Véronique was a winner of the Musical Merit Foundation Scholarship Competition, Audience Favorite in the Opera NEO Competition, and 1st Prize winner in the Saltworks Opera Competition.
A recent alumna 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 was awarded UMD's Pomeroy Prize in 17th and 18th Century Music. While in school, Véronique was an active concert soloist, performing Carmina Burana, Messiah, BWV 77, and BWV 172. She also debuted with Opera NEO, singing Isifile in Cavalli’s Il Giasone and covering Despina (Così fan tutte).
In past seasons, Véronique has sung 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 and Whitacre’s Goodnight Moon. An avid performer of new work, she has been a part of several US, regional, and world premieres, including as a soloist in the Midwest premiere of Gordon/Lang/Wolfe's lost objects at Chicago's Pritzker Pavilion. Passionate about language and poetry, her 2014 project, “e.e. cummings and Contemporary American Song,” was a Northwestern University grant winner. She graduated with her BM in 2015, magna cum laude, with degrees in Voice/Opera Performance and Operatic Languages.