PUBLICATIONS

A Reader in Philippine Film: History and Criticism  |  Jema Pamintuan (essay entry)

Not Your World Music : Noise in South East Asia  |  Cedrik Fermont & Dimitri della Faille

CCP Encyclopedia of Philippine Art  |  Cultural Center of the Philippines

Break It To Me Gently  |  Richard Bolisay

INQUIRER, Walter Ang

How Teresa Barrozo is Designing the Soundscape for Red Turnip's 'The Nether'

THECUT.COM / NEW YORK MAGAZINE, Allison P. Davis

These Female Musicians Aren't Afraid to Make Noise

MACKIE.COM / FORERUNNERTECHINC.COM

Mackie Gear Steps Up Production for Tanghalang Ateneo's 'Boy'

THEWIRE.COM, Aki Onda

Global Ear: Microscenes in the Philippines

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"Sound artist and HERESY collaborator Teresa Barrozo's installation 'Vocalisation' is a musique concréte piece featuring birdsongs and other elements played through dozens of speakers attached to wooden structures in a huge shopping mall complex.  'The act of listening," says Barrozo, 'is being attentive to what is heard and not heard. There is substance in both sound and silence.' Most of the work I came across Manila was based on direct soundmaking, or made clear delineation between the listener and the musician/composer. But, deeply attuned to space and built upon a pre-existing soundscape, this piece had a refreshing gentleness. It's an exciting development for the scene's future."

PHANTOMPOD.ORG, Cris Cheek

SCENEPH.COM, Ida Del Mundo

Leading Ladies

VARIETY.COM, Richard Kuipers

"Perfs by a virtually all-female cast are spot-on. Jay Abello’s lensing effectively contrasts the antiseptic hues of the convent interiors with the rich colors in surrounding areas. Teresa Barrozo’s subtle piano score is in perfect harmony with the drama." | APARISYON

SCREENDAILY.COM, Mike Goodridge

"Mendoza doesn’t shy away from showing the woman’s suffering nor how the men hack her body to pieces. Much of the night is in real time and he is determined to make his audience squirm in the same way as Peping. To that end, the cutting is appropriately jarring, the score by Teresa Barrozo unsettling."  | KINATAY

SPOT.PH, Ria Limjap

"The plot is improbable, impossibly well-detailed, and tight like the buns of your gay aerobics instructor as unravels before your unsuspecting eyes. Thankfully it is fast-paced - and wonderfully scored by Teresa Barrozo - there is not a single dragging scene." | ZOMBADINGS 1: PATAYIN SA SHOKOT SI REMINGTON

VARIETY.COM, Richard Kuipers

"Only Pareno is asked to deliver a conventional performance in a film that otherwise blurs the line between role-playing and being one’s self. Ruben H. Dela Cruz’s nimble mobile camera maximizes the sense of realism, while Teresa Barrozo’s rhythmic score is tastefully underplayed." | CHILDREN METAL DIVERS / BAKAL BOYS

PHILIPPINE STAR, Pablo A. Tariman

"You get exposed to frames of countryside images — most of them starkly without music. Teresa Barrozo’s music is spare and really effective. It doesn’t romanticize the rural scenes. Instead, you get natural ebb and flow from the surrounding: Bird sounds from the forest, the onrush of water from the river and beautiful sunrise and sunset." | BIRDSHOT

CNN PHILIPPINES, Richard Bolisay

  “…. Teresa Barrozo’s periodic soundscapes of incongruous yet intimate rhythms heightening the emotion as much as trapping it until it is muted. The mix of urban sounds and these fragments of electronic torpedoes does a lot to provide the characters with recognizable soul..." | MA' ROSA

THE HOLLYWOOD REPORTER, Boyd van Hoeij

"Almost the only thing that advances the plot is the need to pay off the police, with Teresa Barrozo’s score, which is occasionally more noise and rattles than proper music, adding daubs of atmosphere or tension here and there." | MA' ROSA

MY MOVIE WORLD

"The film rises on the strength of its score by Teresa Barrozo..."  | MA' ROSA

THE PLAYLIST, Nikola Grozdanovic

"... the film gives you a moment to breathe and reflect at the surroundings with Rosa. Meanwhile, Teresa Barrozo‘s melancholic score does its part at turning tiny screws into our hearts." | MA' ROSA

THE FILM DREAM

“… the intensifying score (by award winning composer Teresa Barrozo) plays out in sequences which takes audiences to a sudden emotional roller coaster…. t does its job in making sure the viewers understands that whatever is happening at that very moment is putting the characters in a position that they don’t want to be in.” 

| MA' ROSA

"The discomfort in watching this (mostly by the aforementioned cinematography) somehow works in the context of the film-going experience, together with its concise editing, atmospheric music (by the ever-reliable and frequent Mendoza collaborator Teresa Barrozo), and haunting sound design." | MA' ROSA

PHILIPPINE STAR, Scott R. Garceau

"Teresa Barrozo’s score meanwhile echoes horror movie music, but adds legitimately to the tension and sense of dislocation Rosa feels every step of the way." | MA' ROSA

THE WRAP, Ben Croll

"Interestingly, the rudimentary visual approach is counterbalanced by rather sophisticated sound design. The Salle Debussy in Cannes’ technically impeccable Palais du Cinema proved an ideal stage for the layered mix of city sounds and jangly, discordant thrums. The score, by Teresa Barrozo, is closer in character to the unsettling works of mid-century avant-garde composers than anything heard in films from Italian socialists of the same era." 

| MA' ROSA

UNREAL.PH, Armando dela Cruz

"Its score is incredible. Birdshot’s music is by Teresa Barrozo, composer of such films as the 2009 Brillante Mendoza film, “Kinatay”, and the 2013 Eduardo Roy Jr. film, “Quick Change”. If you felt an uneasy, jittery sense of dread, it is most likely due to the pulsating beats and screeches in Barrozo’s score." 

| BIRDSHOT

SHOWBIZ-PORTAL.COM

"Special mention should be made regarding the use of “Paruparong Bukid” by musical director Teresa Barrozo (she also scores two other Cinemalaya films) as the film’s theme song. It is really a perfect choice." | QUICK CHANGE

CNN PHILIPPINES, Gil Perez

"... there’s just something about music that elevates the depths and heights of these emotions, a purity only capable of being unleashed through song. This synergy of music and storytelling reaches its acme in an ugly cry-inducing number where in a moment of lucidity, Veneracion’s Crisanto serenades his sleeping wife — a melodic apology as he wonders whether his tired spouse will still love him when she wakes." | PAGLISAN

FILMPOLICEREVIEWS.COM

"Jade Castro’s Zombadings 1: Patayin sa Shokot si Remington (2011), which made use of a fresh set of thespians giving new life to the script. What made the latter script reading stand out is how each actor made use of props and lights to garner a more “cinematic” appeal, strongly supported by live scoring from Teresa Barrozo." | ZOMBADINGS 1: PATAYIN SA SHOKOT SI REMINGTON (online lockdown reading)

VARIETY.COM, Dennis Harvey

"In his first feature as DP, Isaac Banks’ lensing underlines the film’s best points, combining atmospheric urban grit and elegant simplicity. The film isn’t quite pared-down enough to qualify as minimalist, but it’s typical of its economy of means that you don’t even notice Teresa Barrozo’s score until it accompanies the closing credits." | LINGUA FRANCA

THEATER

INQUIRER, Joel Macaventa

"The costumes were basic black. The same three actors skillfully brought to life several supporting characters using only the simplest of props and a shift in movement and voice. Even the original music by Teresa Barrozo was minimal yet evocative."  | GAMES PEOPLE PLAY

INQUIRER, Vincen Gregory Yu

"I was completely smitten by this charming production, its steady grasp on the notion of tenderness its key strength. And Teresa Barrozo’s sound design, emphasizing silence and eeriness, layered this otherworldly romance." | EURIDYCE

INQUIRER, Vincen Gregory Yu

"The prevailing desire here is to tell a story regardless of origin: to tell it right, in a way that hits the heart in all the right spots. And that, this small production does quite astoundingly. There is Teresa Barrozo’s topnotch sound design. There is Lacson’s set and Barbie Tan-Tiongco’s lights cohering into a functional whole in such a small space." | BOY

INQUIRER, Vincen Gregory Yu

"All the better, then, to highlight the achingly beautiful storytelling that is this play’s most potent feature, set to music by Teresa Barrozo."​ | GAMES PEOPLE PLAY

RAPPLER, Iñigo de Paula​

"The sound and set design deserve major credit here. Director and set designer Ed Lacson Jr., and sound designer Teresa Barrozo created a sparse, but effective, set for the story to unfold. "​ | STOP KISS

INQUIRER, Vincen Gregory Yu

"Mark Dalacat’s constrictive set, lit by D Cortezano, captured the kind of somber, ravaged in-between suggested by Tanghalang Ateneo’s 'Marisol', with superlative sound work

—yet again—from Teresa Barrozo." | MARISOL

THEATER FANS MANILA, Nikki Francisco

"Sound designer Teresa Barrozo’s masterful soundscape adds lightness to the the world Lascon created, even ending it later with the soft verses of a sapphic tune that memorably frames the show’s romantic and hopeful ending." | STOP KISS

INQUIRER, Vincen Gregory Yu

"Teresa Barrozo’s sound design and instrumentals, in their best moments elevating the story to the level of thriller, or late-night stand-up, or heartfelt drama."​ | UNDER MY SKIN

FRED SAID, Fred Hawson

"The music and sound design of Teresa Barrozo was absolutely topnotch, I can even say it was perfect. That the soundtrack may have been mixed in live made it even more of an impressive achievement. From the chirping crickets to that pulsating beat that raised the level of atmospheric suspense to another level. Those disembodied voices of unseen characters gave such extraordinary hair-raising impact."​ | PAPAANO TURUAN ANG BABAE HUMAWAK NG BARIL