VÉRONIQUE FILLOUX
SOPRANO
BIOGRAPHY
Praised by Opera News for her “expressive, lovingly shaded soprano,” “dazzling coloratura and lithe stage presence [used] to piquant comedic effect,” French American soprano Véronique Filloux looks forward to a rich and varied 2025-2026 season, including her company début as Constance in Dialogues des Carmélites with New Orleans Opera, the titular role of La Belle in La Belle et la Bête at Fort Worth Opera, and her company début with Haymarket Opera in collaboration with the Newberry Consort as Proserpina in Peri’s rarely performed Euridice. She also débuts with El Paso Opera as Musetta in La bohème, returns to Eugene Opera as Mabel in The Pirates of Penzance, and to Alabama Symphony Orchestra for Carmina Burana, in collaboration with The Alabama Ballet. In summer 2025, Véronique joined The Atlanta Opera to cover the title role in Handel’s Semele, performing the entire role at orchestra dress rehearsal. A favorite at Central City Opera, Véronique also returned to “the mountain” as Lady Larken in Once Upon a Mattress and as a featured soprano in the company’s popular Opera Concert.
Véronique‘s 2024-2025 season was anchored by her wildly successful role début as Marie in La fille du régiment at Livermore Valley Opera for which San Jose Mercury hailed her a “star soprano.” The Independent singled her out for her “top notch acting skills” while Opera Tattler applauded her “beautiful, resonant sound [with] a lot of sass.” She also made role and company débuts as Gilda in Rigoletto at Eugene Opera and Gretel in Hansel & Gretel at Opera Montana. Additionally, she returned to Central City Opera to sing Greta Fiorentino in Street Scene and took on the leading lady role of Rosa in Pacific Opera Project’s Don Bucefalo.
READ MORE
In the 2023-2024 season, Véronique made débuts with Berkshire Opera Festival as Musetta in La bohème, Livermore Valley Opera as Curley's Wife in Of Mice and Men, Alabama Symphony Orchestra in Handel's Messiah, and Annapolis Opera as Adina in L'elisir d'amore. She also returned to Arizona Opera as both Rosina in Il barbiere di Siviglia and Zerlina in Don Giovanni and joined The Metropolitan Opera as Helen in the workshop of The Amazing Adventures of Kavalier and Clay. Véronique spent summer 2023 as a Filene Artist at Wolf Trap Opera, singing Iris in Semele and performing two recitals.
In previous seasons, Véronique was a resident artist with Arizona Opera, making several exciting role débuts including Zerbinetta in Ariadne auf Naxos, Liesl in The Sound of Music, Pamina in Die Zauberflöte, and Agatha in the workshop of Frankenstein. She also joined Washington Concert Opera as Miss Ellen in Lakmé and Pacific Opera Project as Martesia in the US premiere of Vivaldi's Ercole su'l Termodonte. In previous seasons, Véronique joined Des Moines Metro Opera for Rameau's Platée, singing L'Amour and covering La Folie, and A Midsummer Night's Dream, singing Peaseblossom and covering Tytania. She joined Pittsburgh Opera as a Resident Artist, where she sang Despina in Così fan tutte, Chan Parker in Charlie Parker’s Yardbird, Papagena in The Magic Flute, The Girl/Luna in The Rose Elf (staged premiere), Frasquita in Carmen, and the title role in Handel’s Semele.
On the competition circuit, Véronique has won First Prizes in the 2025 Musical Merit Foundation Auditions, the 2024 Dorothy Lincoln-Smith National Finals, the 2022 Zenith Opera Competition, the 2023 Dorothy Lincoln-Smith NSAL Competition of Arizona, the 2022 Mildred Miller Vocal Competition, and the 2021 Camille Coloratura Awards. She is a two-time Metropolitan Opera Laffont Competition District Winner (2020 and 2023). She is proud to have earned prizes from organizations including the Orpheus Competition, Annapolis Opera Competition, Young Patronesses of the Opera/Florida Grand Opera Competition, Arizona Commission on the Arts, and the Musicians Club of Women Competition.
Véronique has enjoyed several performances with Opera Lafayette, with whom she made her Kennedy Center début as Tigrane in Radamisto. In recent years, she reprised soloist roles in Carmina Burana, Jauchzet Gott in allen Landen, Poulenc’s Gloria, and Handel’s Messiah with organizations including the Champaign-Urbana Symphony Orchestra, Alabama Symphony Orchestra, and Bach Collegium San Diego, and she has enjoyed frequent collaborations with Music of the Baroque as soprano soloist in Handel’s Dixit Dominus and as Pales in Bach’s Hunt Cantata. In her previous two summers with Central City Opera, Véronique sang Papagena in Die Zauberflöte and the title role in Debussy’s La damoiselle élue, winning both the company’s Young Artist Award and Apprentice Artist Award. Véronique earned her MM from the University of Maryland’s Opera Studio and her BM from Northwestern University. She is a dual citizen of France and the United States.
Current as of July 23, 2025
CRITICAL ACCLAIM
"...dazzling coloratura and lithe stage presence..." – Opera News
Semele – As the vainglorious title character, Véronique Filloux looked smashing in her flowing negligées... Her best moment was the showstopping "Myself I shall adore," in which she used her dazzling coloratura and lithe stage presence to piquant comedic effect.
__________
“...Filloux’s expressiveness and top-notch acting skills…” - The Independent
La fille du régiment - "The ebullience is refreshing and spirited due in large part to a stellar cast led by the young French-American coloratura soprano, Véronique Filloux, who plays the charming heroine Marie, found on a battlefield and raised by a French rifle regiment…Filloux’s expressiveness and top-notch acting skills conveyed the meaning of her words through song, joyfulness, patriotism, heartbreak, humor and love." | "In the physically active role, Filloux barrels around the stage with a boyish energy unfettered by gender norms."
__________
“Soprano Véronique Filloux was completely charming…” - Opera Tattler
La fille du régiment - "Soprano Véronique Filloux was completely charming in the title role. Her Marie has a lot of sass and a beautiful resonant sound. Her French diction was extremely clear as well."
__________
”...stupendously sung…” - Iron Tongue Reviews
La fille du régiment - "And Véronique Filloux, singing Marie, was a real find: she has a lovely, sweet voice, she's a great comic actor, and her arias were stupendously sung. She has range, she has volume, she has a gorgeous legato, she has a terrific trill. How I would love to see her again!"
__________
"...crowned these ensembles with incisive high notes..." – Washington Classical Review
Lakmé – As usual, Antony Walker assembled an extraordinary cast down into the supporting roles. The colonial quintet of British expats sang with sparkle and rhythmic unity… The Miss Ellen of soprano Véronique Filloux, Gérald’s fiancée, crowned these ensembles with incisive high notes.
__________
"...both wonderfully sung and wonderfully comic..." – Berkshire Edge
La bohème – The entire company is wonderful, and, moment to moment, the opera captured its audience and made hundreds of people thrill to the best of Puccini. Véronique Filloux was a delightful Musetta, and her Act Two song and “dance” was both wonderfully sung and wonderfully comic.
__________
"...with precision and a modicum of pathos..." – San Francisco Chronicle
Of Mice and Men – There is just the one female presence in this otherwise all-male undertaking, the Eve-like temptress known only as Curley’s Wife. We can pin the sexual politics on Steinbeck, while noting that Floyd gives this lonesome, unhappy woman a voice of her own, and that soprano Véronique Filloux dispatched her assignment with precision and a modicum of pathos.
__________
“...the wonderful soprano…” - Eugene Scene
Rigoletto - "Instead, focus on the glorious music from Verdi’s pen as well as first-rate voices and acting: there’s Rigoletto’s daughter Gilda (the wonderful soprano Véronique Filloux)..."
__________
”...able singer-comedians…” - L.A. Times
Don Bucefalo - "This obscure and hilariously outrageous takeoff on the genre of Italian opera buffa, written in 1846, turned out to be the hit of the weekend." | "Contreras [as Don Bucefalo] was surrounded by able singer-comedians, among them Véronique Filloux.... all of whom excellently mastered roles they likely will never have an opportunity to sing again."
REPRESENTATIVES
General