Praised for her “expressive, lovingly shaded soprano” and "dazzling coloratura and lithe stage presence [used] to piquant comedic effect" (Opera News), French-American soprano Véronique Filloux enjoys an exciting 2024/25 season of role debuts. She began the season as Greta Fiorentino (Street Scene) with Central City Opera, then went on to sing the titular heroine of Donizetti's La fille du régiment in a return to Livermore Valley Opera and Rosa in Cagnoni's rarely-perfomed Don Bucefalo with Pacific Opera Project. She then made role and company debuts as Gilda (Rigoletto) with Eugene Opera and Gretel (Hansel and Gretel) with Opera Montana. This summer, she returns to Central City Opera as Lady Larken (Once Upon a Mattress) and in concert. The 2025/26 season holds role and company debuts Dafne in Peri's Euridice with Haymarket Opera and La belle in Glass’ La belle et la bête with Fort Worth Opera. She also returns to Eugene Opera as Mabel in The Pirates of Penzance and looks forward to reprising the role of Musetta in La bohème (company TBA).

 

Véronique was delighted to spend the 2023 summer with Wolf Trap Opera as a Filene Artist, singing Iris (Semele), joining Steve Blier in a recital entitled "Night and Day, USA," and giving a Parlor Recital. She went on to enjoy an exciting 2023/24 season entirely of role debuts, with engagements including debuts with Berkshire Opera Festival as Musetta (La bohème), Livermore Valley Opera as Curley's Wife (Of Mice and Men), and Annapolis Opera as Adina (L'elisir d'amore). She made two returns to Arizona Opera, singing Rosina (Il barbiere di Siviglia) and Zerlina (Don Giovanni). On the concert stage, she debuted with Alabama Symphony Orchestra as the soprano soloist in Handel's Messiah and performed in concert with countertenor John Holiday and the University of Maryland Symphony Orchestra. She was thrilled to join The Metropolitan Opera as Helen in the workshop of The Amazing Adventures of Kavalier and Clay by Mason Bates and Gene Scheer.

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Véronique began the 2022/23 season by winning 1st Prize in the Zenith Opera Competition and debuting with Washington Concert Opera as Miss Ellen (Lakmé) alongside Erin Morley in the title role. Parterre Box noted that "Véronique Filloux, whose own vocal capabilities seem to be not far off from Morley’s, was a charming and forthright Miss Ellen, Gérald’s oblivious fiancée." While in residence with Arizona Opera, she made several exciting role debuts including Zerbinetta (Ariadne auf Naxos), Liesl (The Sound of Music), Pamina (Die Zauberflöte),  and Agatha (Frankenstein- workshop). She also joined Pacific Opera Project as Martesia  in the US premiere of Vivaldi's Ercole su'l Termodonte. 

 

Véronique spent the summers of 2021 and 2022 with Des Moines Metro Opera, first singing L'Amour and covering La Folie in Rameau's Platée and then singing Peaseblossom and covering Tytania in A Midsummer Night's Dream. As a Pittsburgh Opera Resident Artist for the 2020/21 and 2021/22 seasons, her roles included Despina (Così fan tutte), Chan Parker (Charlie Parker’s Yardbird), Papagena (The Magic Flute), The Girl/Luna (The Rose Elf, staged premiere), Frasquita (Carmen), and the title role in Handel’s Semele. She also performed recitals with Salt Marsh Opera and Musicians Club of Women and was scheduled to debut with the Westmoreland Symphony Orchestra in Beethoven's Mass in C (cancelled due to Covid).

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In competition, Véronique has won 1st Place in the 2022 Zenith Opera Competition, the 2024 Dorothy Lincoln-Smith NSAL Competition, the 2022 Mildred Miller Vocal Competition, and the 2021 Camille Coloratura Awards. She is the 3rd Place winner in the 2023 Dorothy Lincoln-Smith NSAL Competition, Daniel Schwartz Memorial Award winner in the 2022 Young Patronesses of the Opera Competition, 3rd Place winner and Audience Favorite in the 2022 Annapolis Opera Competition, 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 Competition, Lynne Harvey Foundation/Virginia Cooper Maier Award winner in the 2020 Musicians Club of Women Competition, a Pittsburgh District Winner of the 2020 Laffont Competition, a winner of the Arizona Commission on the Arts grant program, and a two-time finalist in the Jensen Foundation Vocal Competition.

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In the 2019/20 season, Véronique was seen as Shepherdess (Venus and Adonis) with Opera Lafayette, with whom she made her Kennedy Center debut as Tigrane (Radamisto) the previous season. She returned to solos in Carmina Burana, Jauchzet Gott in allen Landen, and Messiah with organizations including the Champaign-Urbana Symphony Orchestra and Bach Collegium San Diego, and she rejoined Music of the Baroque as Pales in Bach’s “Hunt Cantata.” Prior to Covid-19, she was scheduled to debut with Salt Marsh Opera as Clorinda (La Cenerentola) and Raylynmor Opera as Nannetta (Falstaff) and to sing Jeannie in Opera Lafayette’s modern premiere of Philidor’s The Blacksmith. 

Spending two summers with Central City Opera, Véronique sang Papagena (Die Zauberflöte) and the title role in Debussy’s La damoiselle élue, earning the 2019 Opera Guild Artist Sponsorship and winning both the company’s 2018 Young Artist Award and 2019 Apprentice Artist Award. Other highlights include covering Brigitta (Iolanta) and Doodle (The Scarlet Ibis) with Chicago Opera Theater and singing Handel's Dixit Dominus and Purcell arias with Music of the Baroque. Additional past roles include Servilia (La clemenza di Tito), Soeur Constance (Dialogues des Carmélites), Lucia (The Rape of Lucretia), Amore (Orfeo ed Euridice), Olympia (Les contes d'Hoffmann), Silberklang (The Impresario), Adele (Die Fledermaus), Mae Jones (Street Scene), Lily (The Young King, world premiere), and Isifile in Cavalli's Il Giasone. She has performed solos in Carmina Burana, Messiah, Poulenc's Gloria, Gordon/Lang/Wolfe's lost objects, Whitacre’s Goodnight Moon, and several Bach cantatas. Véronique earned her MM from the Maryland Opera Studio, winning UMD's Pomeroy Prize in 17th & 18th Century Music, and earned her BM at Northwestern University, magna cum laude, with degrees in Voice/Opera Performance and Operatic Languages & Poetry, having completed the prestigious Creative Writing Sequence in Poetry.