Gwilym Bowen
Tenor

“Lyrical and agile, with considerable expressive depth, Bowen delivered every phrase as if it had just occurred to him, with unfailingly expressive spontaneity” (Seattle Times, December 2016)

Contacts

Ian Stones +44 (0)20 3725 9104
Clare Erskine +44 (0)20 3725 9145

Biography

Gwilym Bowen is poised for a promising career with upcoming engagements including Handel’s Chandos Anthems with the Academy of Ancient Music under Richard Egarr, Monteverdi’s Vespers at the Three Choirs Festival, and Handel’s Brockes-Passion with Concerto Copenhagen on tour in Hamburg, Amsterdam and Utrecht. Further ahead Gwilym joins both the BBC National Orchestra of Wales and Royal Liverpool Philharmonic Orchestra for Messiah, the Royal Philharmonic Orchestra for Britten’s War Requiem, and the Auckland Philharmonia Orchestra for Matthäus-Passion under Stephen Layton. 

Possessing a voice of remarkable clarity, Gwilym has an established specialism in earlier repertoire which has brought a number of significant debuts. Highlights on the concert platform have included Johannes-Passion with the Orchestra of the Age of Enlightenment and BBC National Orchestra of Wales under John Butt, Messiah with the Seattle Symphony Orchestra under Stephen Layton, Bach Cantatas at the Lincoln Centre with Masaaki Suzuki, and Monteverdi duets at the Edinburgh International Festival with the Dunedin Consort. 

Gwilym Bowen is poised for a promising career with upcoming engagements including Handel’s Chandos Anthems with the Academy of Ancient Music under Richard Egarr, Monteverdi’s Vespers at the Three Choirs Festival, and Handel’s Brockes-Passion with Concerto Copenhagen on tour in Hamburg, Amsterdam and Utrecht. Further ahead Gwilym joins both the BBC National Orchestra of Wales and Royal Liverpool Philharmonic Orchestra for Messiah, the Royal Philharmonic Orchestra for Britten’s War Requiem, and the Auckland Philharmonia Orchestra for Matthäus-Passion under Stephen Layton. 

Possessing a voice of remarkable clarity, Gwilym has an established specialism in earlier repertoire which has brought a number of significant debuts. Highlights on the concert platform have included Johannes-Passion with the Orchestra of the Age of Enlightenment and BBC National Orchestra of Wales under John Butt, Messiah with the Seattle Symphony Orchestra under Stephen Layton, Bach Cantatas at the Lincoln Centre with Masaaki Suzuki, and Monteverdi duets at the Edinburgh International Festival with the Dunedin Consort. 

Equally praised for his dynamic stage presence, notable debuts have included Il ritorno d’Ulisse in Patria at the Grange Festival, where his portrayal of Eurimaco and Giove was described as a “stand-out performance” (The Independent, 2017), and Valletto in Moshe Leiser and Patrice Caurier’s production of L’incoronazione di Poppea for Angers Nantes Opera under Gianluca Capuano. Other memorable performances include Purcell’s The Fairy Queen at the Barbican, London and an “utterly captivating” portrayal of Sellem in The Rakes Progress for Royal Academy Opera. 

A passionate proponent of contemporary music, Bowen has created the roles of Tamino (Be With Me Now) for Festival d’Aix en Provence, with revivals at Philharmonie de Paris, La Monnaie and Teatr Wielki, and the protagonists in two operas by Kate Whitley (Unknown Position and 0520). Other highlights have included Davey in Dove’s Siren Song for Shadwell Opera and Lysander in A Midsummer Night’s Dream in Aldeburgh. 

Gwilym is a Royal Academy of Music graduate and former Trinity College, Cambridge choral scholar. Upcoming recordings include Bach’s Mass in B Minor with the Orchestra of the Age of Enlightenment, recorded for Hyperion and due for release this season. 

Download Bio
uk

Video

 
 

Audio

Contacts

Ian Stones +44 (0)20 3725 9104
Clare Erskine +44 (0)20 3725 9145

Reviews

"All of this glory was outshone by young tenor Gwilym Bowen...Vibrant, expressive, agile and dramatic, this crowned an astounding array of vocal quality throughout the performance" (Limelight, December 2017) 

 "excellently facetious in the farcical, schoolboy sequences which punctuate the drama, his dynamic phrasing rises to full-bodied heights" (Ôlyrix, October 2017) 

"We note the piquant Valetto of Gwilym Bowen, with never-failing articulation: it's a true pleasure to "taste the text" in these scenes, Bowen revealing the exasperation as much as the sensual outbursts of which the character is capable" (Classiquenews, October 2017) 

​“Gwilym Bowen showed his versatility by doubling as a dramatic Giove and the charming servant Eurimaco” (Planet Hugill, June 2017) 

"All of this glory was outshone by young tenor Gwilym Bowen...Vibrant, expressive, agile and dramatic, this crowned an astounding array of vocal quality throughout the performance" (Limelight, December 2017) 

 "excellently facetious in the farcical, schoolboy sequences which punctuate the drama, his dynamic phrasing rises to full-bodied heights" (Ôlyrix, October 2017) 

"We note the piquant Valetto of Gwilym Bowen, with never-failing articulation: it's a true pleasure to "taste the text" in these scenes, Bowen revealing the exasperation as much as the sensual outbursts of which the character is capable" (Classiquenews, October 2017) 

​“Gwilym Bowen showed his versatility by doubling as a dramatic Giove and the charming servant Eurimaco” (Planet Hugill, June 2017) 

"stand-out performance" (Michael Church, Independent, June 2017) 

"attractively sung and superbly acted by Donna Bateman and Gwilym Bowen: their “Dolce, mia vita” was another of those moments which touched the sublime" (Bachtrack, June 2017) 

"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" (Seattle Times, December 2016) 

​“Bowen’s ‘Benedictus’ had soaring grace” (Independent, December 2016) 

“The soloists were excellent too, with outstanding contributions from newcomer Gwilym Bowen” (Telegraph, October 2016) 

“Let the fifes and the clarions and shrill trumpets sound”, splendidly and heroically delivered by Gwilym Bowen and the experienced Charles Daniels” (Seen and Heard, October 2016) 

“The young international cast was an impressive array, the British contribution being the enormously promising and valuable young Gwilym Bowen” (Brian Dickie Blog, June 2016) 

“‘Behold, and see if there be any sorrow like unto his sorrow’, tellingly sung by Gwilym Bowen. Moments earlier he and Layton perfectly caught the desolation of ‘Thy rebuke hath broken his heart’ where singer and strings were beautifully poised” (Classical Source, December 2015) 

"In Berkeley's culinary comedy, his foppish Gallic charm as Prince Phillippe was matched by the refinement and fluidity of his singing" (Yehuda Shapiro, Opera, May 2015) 

​"As Sellem, Gwilym Bowen offered a very different sense of humour, utterly captivating, never outstaying its welcome, and likewise never at the expense of excellent musical values, line and attention to the words exemplary" (Seen and Heard, March 2015) 

“Blue-haired Gwilym Bowen was brilliantly camp as Sellem, with an energy that lifted the performance at a point where it needed it, making the auction scene possibly the highlight of the show. It was musically the tightest and dramatically powerful” (Bachtrack, March 2015)