Theophilo Augusto de Barros Neto (musician, journalist, arranger, producer and musical director, poet), born in the City of Rio de Janeiro, State of Rio de Janeiro, son of Maria de Lourdes Barros and Theophilo de Barros Filho, he started his music studies at the age of 10, being dedicated to the guitar since he was 11 years old, when he changed to São Paulo. At the age of 13, he started playing in balls and amateur shows and two years later he started composing.

He first showed up as professional musician at Boate Lancaster playing counterbass with César Camargo Mariano (piano), Flavinho (trumpet) and Escalante (drums). In 1962, he formed a trio with the organist Renato Mendes and the drums player José Luís Shiavo. In the next year, he integrated the Sabá Quarteto with César Camargo Mariano, Sabá and Hamilton Pitorre, started teaching guitar and tested his Sexteto Brasileiro de Bossa, inaugurating it at João Sebastião Bar. In 1964, he composed Aninha and Zé Mineiro and was awarded with Troféu Índio de Prata of TV Tupi with Maria e Mar (Sílvia Maria) and recorded, in the LP O Toque Inconfundível de Walter Wanderley, Menino das Laranjeiras, which in the following year was recorded by Elis Regina, the year in which he composed Disparada and Espanto.

He directed and composed music for various theatrical plays as Arena conta Tiradentes, of Augusto Boal and G.Guarnieri, with his own musics and musics of Caetano Veloso, Gilberto Gil and Sidney Miller. He also recorded and took part of important LPs. He formed the Trio Novo with Heraldo and Airto and composed, with Geraldo Vandré, Disparada. In the Quarteto Novo, he was awarded with Troféu Imprensa; he recorded the LP, composing the TV serial theme Bicho do Mato with Chico de Assis; he made the arrangement of Ponteio among other records, arrangements and shows, reasons why he was awarded with important festivals and rewards. In 1968, he made other compositions like Oxalá that represented São Paulo in MPB Shell and Mi Pátria for the theatrical play Doce América, Latino América. He went to New York as musical director and violinist with the play Arena Conta Zumbi and, in the following year, to Mexican and American cities, besides Lima (Peru) with the plays Zumbi and Bolívar, with Teatro de Arena. At the end of the tour, he was invited to show up at the closing party of ONU works.

With the music Desafio, he tied with two competitors in the Festival da Viola of TV Tupi and recorded one more LP, making arrangements for the LP of Chico Maranhão and Carlos Lyra in 1971, besides the musical direction of Aberlado e Heloisa and Capital Federal in 1972, both of Flávio Rangel, being the last one recorded in compact disc by Philips with his participation. In this year, he made the jingle A VASP abre suas asas for VASP, the musical direction of Zibuca night club and started working with advertising at SONOTEC. He produced the CD Márcia, the LP Dick Farney and made arrangements for Abílio Manoel, producing the LP Adauto Santos in the following year and, in partnership with Trio Marayá, the sound track of the film Quelé do Pajeú of Anselmo Duarte. In 1975, he made the production of Coleção Centro-Oeste-Sudeste and LP Papete, berimbau.

Soon after, the EMI/ODEON records A VASP abre suas asas, the Banespa jingle in CD, the recording of Zé Mineiro by Márcia (EMI), arrangements for the LP Vadico, Evocação III, for which he made arrangements for the disc in 1979, besides arrangements for Abílio Manoel LP Becos e Saídas and the recording of Primeiro Disco of Théo de Barros – Double album by Eldorado label, launching it in 1980, year in which he made arrangement for the disc Raízes e Frutos.

Following, he made the production and arrangements for the first and second LPs of Edu da Gaita (Eldorado Label), being awarded with the Melhor Disco do Ano, by Jornal do Brasil in 1981 and 1982, respectively. He participated in the music Barco Sul at MPB Shell (Rede Globo) and made arrangement for the LP of Cau Pimentel and the recording of Mi Pátria by Márcia. He improves his studies with the Argentinean maestro Alfredo Lupi. He made arrangements for Beto Araújo (1987), graduating in Communications / Journalism in the following year and in 1989 he wrote for Revista CD (Editora Globo). He made arrangements for the CDs The Best of Antonio Carlos Jobim in 1990, The Beatles in Bossa Nova and The Best of Chico / Toquinho / Vinícius in 1991, Pery Ribeiro / Songs of Brazil in 1992, Jane Duboc in 1993. He made arrangements for the CD with musics of George Gershwin and Cole Porter launched abroad, starting writing a column for the newspaper Movimento.

In 1995, he participated in the I Encontro da MPB with the unpublished music Fruta Nativa (letter of Paulo César Pinheiro) and made letter for musics of Wilson Mauro and José Graziano; Coisa de Carioca, A mais Longa Noite de Verão, Andréia, Só para variar, Pernambuquet, Vai você, Como uma Flor and Quem é Quem. In 1996, he recorded Vamos Deixar CD3 - Bossa Nova History of Revista Caras, besides making the arrangements for the CD Toquinho/Peça Infantil and in 1997 for the CD Bodas de Cristal, year in which occurred the launching of the CD Violão Solo / Theo de Barros (Paulinas-COMEP).

In 1999, he started to compose again, supported by the friend and music writer Paulo César Pinheiro and accumulated approx. 150 songs. From these songs, 16 of them are included in his new solo CD, simply called Theo - an excellent production with perfect arrangements and competent musicians.

About the New Work of Theo de Barros: Theo de Barros was born in Rio de Janeiro but lives in São Paulo. His father is from Alagoas and his mother from Rio Grande do Norte. So, he has a good Brazilian mixture. And masterfully he expresses it in his music. (...) Theo is a fundamental creator for our songbook. Today, he represents a reference for the youth. Pay attention in the beautiful, inspired and good work that is coming. And the Brazilian Music expresses gratitude and renders reverence to the brilliant Theo de Barros! - Paulo Cesar Pinheiro.