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French-American soprano Véronique Filloux has been praised for her "dazzling coloratura and lithe stage presence [used] to piquant comedic effect" and her "expressive, lovingly shaded soprano" (Opera News).


"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?'"

S E E N   A N D   H E A R D 

I N T E R N A T I O N A L | Semele


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 began her summer 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." She then returned to Des Moines Metro Opera as Peaseblossom/Tytania (cover) in A Midsummer Night's Dream. As a 2022/23 Studio Artist with Arizona Opera, she makes several exciting role debuts including Zerbinetta (Ariadne auf Naxos), Liesl (The Sound of Music), Pamina (Die Zauberflöte),  and Agatha (Frankenstein- workshop). She also joins Pacific Opera Project as Martesia  in the US premiere of Vivaldi's Ercole su'l Termodonte and debuts with Berkshire Opera Festival as Musetta (La bohème).  She is delighted to spend her summer with Wolf Trap Opera  as a Filene Artist, singing Iris (Semele), singing on Steve Blier's recital "Night and Day, USA," and giving a Parlor Recital. She looks forward to a debut with Livermore Valley Opera next fall.


Véronique spent the summer of 2021 with Des Moines Metro Opera, singing L'Amour and covering La Folie in Rameau's Platée. As a Pittsburgh Opera Resident Artist for the 2020/21 and 2021/22 seasons, her roles included Papagena (The Magic Flute), The Girl/Luna (The Rose Elf, staged premiere), Frasquita (Carmen), Despina (Così fan tutte), Chan Parker (Charlie Parker’s Yardbird), 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).

Active in competition, Véronique has won 1st Place in the 2022 Zenith Opera Competition, the 2023 Dorothy Lincoln-Smith NSAL Competition- Arizona, the 2022 Mildred Miller Vocal Competition, and the 2021 Camille Coloratura Awards. She is the 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- DC, 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, and a finalist in the 2021 Jensen Foundation Vocal Competition.

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 Young Artist Award and Apprentice Artist Award. Other recent highlights include her work with Chicago Opera Theater covering Brigitta (Iolanta) and Doodle (The Scarlet Ibis) with Chicago Opera Theater, and Handel's Dixit Dominus with Music of the Baroque

With the Maryland Opera Studio, her roles included Servilia (La clemenza di Tito), Soeur Constance (Dialogues des Carmélites), Lucia (The Rape of Lucretia), Amore (Orfeo ed Euridice), Mae Jones (Street Scene), and Lily (The Young King, world premiere). She also performed solos in Carmina Burana,  Messiah,  BWV 77, and BWV 172, and she debuted with Opera NEO as Isifile in Cavalli’s Il Giasone. Other past roles include Olympia (Les contes d'Hoffmann), Annina (La traviata), Silberklang (The Impresario), Cis (Albert Herring), and Adele (Die Fledermaus), as well as solos in Poulenc's Gloria, Gordon/Lang/Wolfe's lost objects, and Whitacre’s Goodnight Moon. Véronique earned her MM from the Maryland Opera Studio in 2018, winning UMD's Pomeroy Prize in 17th & 18th Century Music, and earned her BM at Northwestern Universitymagna cum laude, with degrees in Voice/Opera Performance and Operatic Languages and having completed the Creative Writing Sequence in Poetry.

Press Materials


vocal talents, versatility, dramatic ability and commanding stage presence"

O N S T A G E   P I T T S B U R G H

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