TENOR

Handel BROCKES PASSION (Academy of Ancient Music)

“Tenor Gwilym Bowen was a superb Peter, capturing the diverse and contradictory emotions experienced by the troubled disciple in an extended sequence in the first part of the Passion. Anger at Judas’ betrayal of Jesus blazed through the running lines of “Poison and fire, lightning and flood”, accompanied by agile unison strings; his avowal that he would not forsake Christ, “Take me with you, cowardly crowd” was sincere and soft, the fine, unwavering line complemented by Sarah McMahon’s eloquent cello obbligato … his responses are insistent yet instilled with a beautiful pathos and sincerity, particularly as he falls in register. Bowen’s tenor burns with self-loathing, the text fiercely declaimed, the rapid divisions clear”
Claire Seymour, Opera Today (April 2019)

“Peter’s agony is particularly well caught by the tenor Gwilym Bowen … (he is) something of a rising glory”
Geoff Brown, The Times (April 2019)

Britten WAR REQUIEM (London Philharmonic Orchestra)

“The hero of the entire Coventry Cathedral performance evening was the tenor Gwilym Bowen, in the role pioneered by Peter Pears. Bowen could really bellow out Owen’s texts where necessary. But was there ever a more sensitive performance of “Move him into the sun”? I doubt it”
Roderick Dunnett, Church Times (December 2018)

Bach ST. MATTHEW PASSION (Auckland Philharmonia Orchestra)

“The Evangelist, Gwilym Bowen, was a consistently intense presence, plangent and vocally at ease even in the highest-lying sections of his part. This was the most immersed I’ve seen an Evangelist in the drama, at turns grief-stricken and desperate…yet all felt in service of the music, never detracting from it”
Simon Holden, Bachtrack (October 2018)

Handel MESSIAH (Seattle Symphony Orchestra)

“Bowen made the kind of impact not heard here since the lone Messiah appearance in Seattle of the great English tenor Philip Langridge, back in the late 1970s. Lyrical and agile, with considerable expressive depth, Bowen delivered every phrase as if it had just occurred to him, with unfailingly expressive spontaneity. His Thy rebuke was positively heart-rending”
Melinda Bargreen, Seattle Times (December 2016)