THEWIRE.COM, Aki Onda
"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
"On July 18th this year, Teresa Barrozo‘s question — What might the Future sound like? — will be opened to global participation. We bring news of World Listening Day, and speak with Teresa about her intervention.
We also hear of data archival developments in acoustic ecology. And we speak with Leah Barclay, the editor of Soundscape: The Journal of Acoustic Ecology, about her Biosphere Soundscapes project and some of the challenges of developing accessible apps for mobile platforms."
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 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.”
MY LAST OSCAR, Malcolm Gunderson
"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
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."
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."
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
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