Véronique Filloux


Donizetti (La fille du régiment)
R. Strauss (Arabella)
Handel (Agrippina)

Véronique Filloux

(she/her) French-American soprano Véronique Filloux has earned praise for her “expressive, lovingly shaded soprano" and for using her "dazzling coloratura and lithe stage presence to piquant comedic effect" (Opera News). She is a current Pittsburgh Opera Resident Artist, singing Papagena (The Magic Flute), Frasquita (Carmen), The Girl/Luna (The Rose Elf), Despina (Così fan tutte), Chan (Charlie Parker’s Yardbird), and the title role in Handel's Semele. She spent the summer with Des Moines Metro Opera, singing L'Amour/covering La Folie (Platée).

Pittsburgh Opera
Resident Artist, 2020-22
Des Moines Metro Opera
Apprentice Artist, 2020, 2021
Opera Lafayette
Young Artist, 2018-19
Central City Opera
Studio Artist; Apprentice Artist, 2018, 2019
University of Maryland
Master of Music, Opera Performance, 2018
Northwestern University
Bachelor of Music, Voice/Opera and Operatic Languages, 2015
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L'Amour, La Folie (cove...

Des Moines Metro Opera, 2021

The Magic Flute

Pittsburgh Opera, November 2021

The Rose Elf
The Girl/Luna

Pittsburgh Opera, January 2022


Pittsburgh Opera, March 2022

Music at the Light...

Salt Marsh Opera, August 2021


Pittsburgh Opera, 2021

Charlie Parker's Y...
Chan Parker

Pittsburgh Opera, 2021

Dialogues des Carm...
Soeur Constance

University of Maryland, 2018

La Cenerentola

Salt Marsh Opera, 2020

Hunt Cantata

Music of the Baroque, 2019


Bach Collegium San Diego, 2019

Carmina Burana

Champaign-Urbana Symphony Orchestra, 2019

La damoiselle élue
La damoiselle élue

Central City Opera, 2019

Dixit Dominus

Music of the Baroque, 2019

The Scarlet Ibis
Doodle (cover)

Chicago Opera Theater, 2019

Brigitta (cover)

Chicago Opera Theater, 2018

Die Zauberflöte

Central City Opera, 2018

La clemenza di Tito

University of Maryland, 2017

Così fan tutte

Pittsburgh Opera, 2020


Musicians Club of Women, 2021

The Blacksmith

Opera Lafayette, 2020


Opera Lafayette, 2019


French-American soprano Véronique Filloux has been noted for her “expressive, lovingly shaded soprano” and “dazzling coloratura and lithe stage presence” (Opera News). She is currently a second-year Pittsburgh Opera Resident Artist, singing Papagena (The Magic Flute), The Girl/Luna (The Rose Elf), and Frasquita (Carmen). In her first year with the company, she was seen as Despina (Così fan tutte), Chan (Charlie Parker’s Yardbird), and the title role in Semele. She spends the summer with Des Moines Metro Opera as L'Amour/La Folie (cover) in Platée.

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

At Central City Opera, Véronique sang both Papagena (Die Zauberflöte) and the title role in Debussy’s La damoiselle élue, winning the company’s Young Artist Award. Other recent highlights include her work with Chicago Opera Theatre, covering Brigitta (Iolanta) and Doodle (The Scarlet Ibis), and solo work with Music of the Baroque. With the Maryland Opera Studio, she performed Soeur Constance (Dialogues des Carmélites), Servilia (La clemenza di Tito), Mae (Street Scene), and Lily (The Young King- premiere). Other roles include Olympia (Les contes d'Hoffmann), Silberklang (The Impresario), Isifile (Il Giasone), and Adele (Die Fledermaus).

She is a Pittsburgh District MONC Winner, Musicians Club of Women winner, Orpheus Competition Handel Award Winner, Annapolis Opera Competition Encouragement Award Winner/Audience Favorite, 2nd Place Winner of the Dorothy Lincoln-Smith Competition, and a Jensen Competition Finalist.
"Easily filling the church with an expressive, lovingly shaded soprano, Véronique Filloux portrayed the Damozel with an inviting mixture of sorrow and joy at the prospect that the two lovers might one day meet in heaven."​"... a magical experience."
— Opera News
Filloux made much of her rich role as Semele. Particularly beautiful was her rendition of “Oh Sleep Why Dost Thou Leave Me” when Semele awakens from a dream of being with Jove. Filloux also gave an entertaining performance for the famed “Myself I Shall Adore” aria, which drew some chuckles from the audience as she extolled her good looks... Semele’s agency provides a refreshingly multidimensional character arc. Not an easy feat when the main character is wearing a frilly, pink robe most of the opera.
— Pittsburgh Post-Gazette
Véronique Filloux['s Semele] fits her youth and voice type very well. She displays the naivete, playfulness, and emerging self-determination of her character... Her coloratura and melismatic displays of vocal dexterity and power were impressive enough, but it was in the gentlest aria “O Sleep, why dost thou leave me” that the beauty of her voice comes to the fore.
— OperaGene
Véronique Filloux’s Chan Parker, his common-law-wife at the time of his death, was all flounces and feathers, a perfect fit with her sparkling lyric soprano.
— Seen and Heard International
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?’... Just as lovely was the blend that Filloux and Ehlinger achieved when they sang together, which was something quite special.
— Seen and Heard International
"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."
— Opera News