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 spent her summer as a Filene Artist at Wolf Trap Opera, singing Iris (Semele), performing on Steven Blier's "Night and Day, USA," and giving a Parlor Recital. This season, she debuts with Livermore Valley Opera as Curley's Wife (Of Mice and Men), Berkshire Opera Festival as Musetta (La bohème), and Annapolis Opera as Adina (L'elisir d'amore). She returns twice to Arizona Opera this season, first as Rosina (Il barbiere di Siviglia) and then as Zerlina (Don Giovanni). She is thrilled to join The Metropolitan Opera as Helen in the workshop of The Amazing Adventures of Kavalier and Clay, a new opera by Mason Bates and Gene Scheer.

In the 2022/23 season, Véronique began her summer by winning 1st Prize in the 2022 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 at Arizona Opera, Véronique makes several exciting role debuts including Zerbinetta (Ariadne auf Naxos), Liesl (The Sound of Music), Pamina (Die Zauberflöte), and Agatha (Frankenstein- workshop). She also debuts with Pacific Opera Project as Martesia (Ercole su'l Termodonte, Vivaldi- US premiere).

Véronique spent the summer of 2021 with Des Moines Metro Opera, singing L'Amour and covering La Folie in Rameau's Platée. She then returned to Pittsburgh Opera as a 2020-22 Resident Artist, where 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 (canceled due to Covid).

Active in competition, Véronique is the 1st Prize Winner of the 2022 Zenith Opera Competition, the 1st Place winner of the 2022 Mildred Miller Vocal Competition, the 1st Place winner of the 2021 Camille Coloratura Awards, 3rd Place winner and Audience Favorite in the 2022 Annapolis Competition, a Pittsburgh District Winner of the 2020 Laffont 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, Lynne Harvey Foundation/Virginia Cooper Maier Award winner (2nd Place) in the 2020 Musicians Club of Women 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 (2018) and Apprentice Artist Award (2019). 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, BWV 51, 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), 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 at the University of Maryland in 2018, winning UMD's Pomeroy Prize in 17th & 18th Century Music. She earned her BM at Northwestern University, magna cum laude, with degrees in Voice/Opera Performance and Operatic Languages and having completed the Creative Writing Sequence in Poetry.