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 jumping in to cover the title role in Handel's Semele with The Atlanta Opera, performing it in full for the orchestra dress. The summer also held a return to Central City Opera in concert and as Lady Larken (Once Upon a Mattress). In the fall, she returns to Eugene Opera in her role debut as Mabel (The Pirates of Penzance) and then goes on to debut with Haymarket Opera Company as Proserpina in Peri's Euridice and with Fort Worth Opera as the titular Belle in Glass' La belle et la bête. In 2026, she also returns to the role of Musetta in La bohème with El Paso Opera following her role debut with Berkshire Opera Festival in 2023.  She is delighted to reprise a favorite role, Sœur Constance in Dialogues des Carmélites, in her debut with New Orleans Opera as well as the soprano solo in Carmina Burana with Alabama Symphony Orchestra and Alabama Ballet.​

Véronique enjoyed an exciting and varied 2024/25 season. She spent her summer as Greta Fiorentino (Street Scene) with Central City Opera, then went on to sing the titular heroine of Donizetti's La fille du régiment in a return to Livermore Valley Opera and Rosa, the bel canto heroine, in Cagnoni's rarely-perfomed Don Bucefalo with Pacific Opera Project. She then made two anticipated role and company debuts: first as Gilda (Rigoletto) with Eugene Opera and then as Gretel (Hansel and Gretel) with Opera Montana. 

Véronique was delighted to spend the 2023 summer with Wolf Trap Opera as a Filene Artist, singing Iris (Semele) and performing in two recitals. She went on to a 2023/24 season of entirely role debuts, with engagements including debuts with Berkshire Opera Festival as Musetta (La bohème), Livermore Valley Opera as Curley's Wife (Of Mice and Men), and Annapolis Opera as Adina (L'elisir d'amore). She made two returns to Arizona Opera, singing Rosina (Il barbiere di Siviglia) and Zerlina (Don Giovanni). On the concert stage, she debuted with Alabama Symphony Orchestra as the soprano soloist in Handel's Messiah and performed in concert with countertenor John Holiday and the University of Maryland Symphony Orchestra. She was thrilled to join The Metropolitan Opera as Helen in the workshop of The Amazing Adventures of Kavalier and Clay.

Véronique began the 2022/23 season 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." While in residence with Arizona Opera, she made several exciting role debuts including Zerbinetta (Ariadne auf Naxos), Liesl (The Sound of Music), Pamina (Die Zauberflöte),  and Agatha (Frankenstein- workshop). She also joined Pacific Opera Project as Martesia  in the US premiere of Vivaldi's Ercole su'l Termodonte. 

Véronique spent the summers of 2021 and 2022 with Des Moines Metro Opera, first singing L'Amour and covering La Folie in Rameau's Platée and then singing Peaseblossom and covering Tytania in A Midsummer Night's Dream. As a Pittsburgh Opera Resident Artist for the 2020/21 and 2021/22 seasons, her roles included Despina (Così fan tutte), Chan Parker (Charlie Parker’s Yardbird), Papagena (The Magic Flute), The Girl/Luna (The Rose Elf, staged premiere), Frasquita (Carmen), 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).

In competition, Véronique has won 1st Place in the 2025 Muscial Merit Foundation Competition, 2022 Zenith Opera Competition, the 2024 Dorothy Lincoln-Smith NSAL Competition, the 2022 Mildred Miller Vocal Competition, and the 2021 Camille Coloratura Awards. She is the 3rd Place winner in the 2023 Dorothy Lincoln-Smith NSAL Competition, 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, Lynne Harvey Foundation/Virginia Cooper Maier Award winner in the 2020 Musicians Club of Women Competition, a two-time District Winner of the Laffont Competition, a winner of the Arizona Commission on the Arts grant program, and a three-time finalist in the 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 2018 Young Artist Award and 2019 Apprentice Artist Award. Other highlights include covering Brigitta (Iolanta) and Doodle (The Scarlet Ibis) with Chicago Opera Theater and singing Handel's Dixit Dominus and Purcell arias with Music of the Baroque. Additional past roles include Servilia (La clemenza di Tito), Lucia (The Rape of Lucretia), Amore (Orfeo ed Euridice), Olympia (Les contes d'Hoffmann), Silberklang (The Impresario), Adele (Die Fledermaus), Lily (The Young King, world premiere), and Isifile in Cavalli's Il Giasone. She has performed solos in Carmina Burana, Messiah, Poulenc's Gloria, Gordon/Lang/Wolfe's lost objects, Whitacre’s Goodnight Moon, and several Bach cantatas. Véronique earned her MM from the Maryland Opera Studio, winning UMD's Pomeroy Prize in 17th & 18th Century Music, and earned her BM at Northwestern University, magna cum laude, with degrees in Voice/Opera Performance and Operatic Languages & Poetry, having completed the Creative Writing Sequence in Poetry.