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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 is enjoying an exciting 2023-24 season, including 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 returns to Arizona Opera as both Rosina in Il barbiere di Siviglia and Zerlina in Don Giovanni, and she also joined The Metropolitan Opera as Helen in the workshop of The Amazing Adventures of Kavalier and Clay. Véronique spent last summer as a Wolf Trap Opera Filene Artist, singing Iris in Semele and performing two recitals. Her 2024/25 season includes role débuts as Mrs. Fiorentino in Street Scene and Marie in La fille du régiment.

Last season, 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. [read more...]


"...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.


"...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.


Adrienne Boris

Agent | Classical & Concert

Elliot Brown

Agent | Classical & Artist Promotion

Lisa Bremer 

Operations & Finance Manager

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