Praised for her “expressive, lovingly shaded soprano” (Opera News) and “radiant vocal ease” (San Diego Story), French-American soprano Véronique Filloux spent her summer as an Apprentice Artist with Des Moines Metro Opera. Having participated in the company’s 2020 Virtual Festival in light of COVID-19, she looks forward to singing L'Amour and covering La Folie in Platée in summer 2021. She is thrilled to join Pittsburgh Opera as a first-year Resident Artist for the 2020/21 season, performing the roles of 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 will present a recital with the organization in May. She is also a Pittsburgh District Winner of the 2020 Metropolitan Opera National Council Auditions.
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 is 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 First 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.