In recent years, Véronique has been proud to sing with major companies including Chicago Opera Theater, Chicago's Music of the Baroque, the Maryland Opera Studio and Opera Lafayette, with whom she made her Kennedy Center and New York City debuts. She has spent two summers with Central City Opera, singing Papagena (DIE ZAUBERFLÖTE) and the title role in Debussy's LA DAMOISELLE ÉLUE, and she looks forward to her debut with Des Moines Metro Opera this summer as Amour/La folie cover (PLATÉE).
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, singing 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 is thrilled to make a return to Chicago's Music of the Baroque, singing Pales in Bach's secular Hunt Cantata (Was mir behagt...) and both La chasseresse and Aricie in act four of 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. Active in competition, Véronique was honored to receive an Encouragement Award in the Capitol District of the Metropolitan Opera National Council Auditions. She looks forward to her debut with Des Moines Metro Opera this summer, singing Amour and covering La folie in Platée.
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 performed scenes as Clorinda (La Cenerentola) and Carrie (Carousel) as a Bonfils-Stanton Foundation Studio Artist and was a soloist in 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. As a Resident Artist with the company, she also performed excerpts from Jommelli's Cerere Placata in the roles of Proserpina and Cerere with their outreach initiative. After covering Brigitta (Iolanta) and Doodle (The Scarlet Ibis) with Chicago Opera Theater, she returned to the Maryland Opera Studio as an 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 thrilled to be named 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.
A recent alumna (MM '18) of the Maryland Opera Studio, she was proud to appear as Servilia in La clemenza di Tito and Soeur Constance in Dialogues des Carmélites in the 2017/18 season. Upon her graduation, she was awarded the prestigious Daniel L. Pomeroy Prize for excellence in scholarship and performance of 17th and 18th century music. Previously that year, Véronique joined the Apollo Chorus of Chicago as the soprano soloist in Orff’s Carmina Burana and appeared as a soloist in BWV 77: Du sollt Gott, deinen Herren, lieben with the UMD Bach Cantata Series.
In the 2016/17 season, Véronique sang the role of Isifile in Cavalli’s Il Giasone with Opera NEO, with whom she also covered Despina (Così fan tutte). As a member of the Maryland Opera Studio, she made her company debut in February 2017, creating the role of Lily in the world premiere of Martin Hennessy’s The Young King and covering Amore (Orfeo ed Euridice) and Lucia (The Rape of Lucretia). Scenes performances with the studio included Norina (Don Pasquale), Mrs. Fiorentino (Street Scene), and Blonde (Die Entführung aus dem Serail). Throughout this season, she appeared as a soloist throughout the DC Metro Area, most notably in performances of Handel’s Messiah and BWV 172: Erschallet, ihr Lieder, erklinget ihr Saiten.
In past seasons, Véronique has been proud to sing the roles of Olympia (Les contes d'Hoffmann), Annina (La traviata), Mademoiselle Silberklang (The Impresario), Cis (Albert Herring), and Adele (Die Fledermaus) with such organizations as Opera in the Ozarks and Northwestern University Opera. While at Northwestern, Véronique enjoyed significant involvement with concert work, singing the 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.
In 2014, Véronique was recognized by Northwestern University, winning a grant for her interdisciplinary project entitled “e.e. cummings and Contemporary American Song.” Passionate about language and poetry in music, her findings culminated in a recital highlighting the music central to her research, most notably John Beckwith’s Four Songs to Poems by e.e. cummings. She graduated from Northwestern University in 2015, magna cum laude, with degrees in Voice & Opera Performance and Operatic Languages.