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

Peter’s agony is particularly well caught by the tenor Gwilym Bowen The Times

The young tenor Gwilym Bowen emerges as one of the most exciting voices on the set, raging furiously in the bravura Gift und Glut | Presto Classical

An intensely dramatic Peter, whether in his splenetic outburst at Judas’s betrayal or his own self-lacerating remorse | Gramophone

We had in tenor Gwilym Bowen a seraphic herald of good tidings: looking with golden curls like a Botticelli angel, his exquisitely gentle “Comfort ye” hung in the air like a beam of light...his melting tone provided a fine contrast with the robust contributions of seasoned bass Neal Davies | BBC Music Magazine

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 | Church Times

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an astonishingly discerning performance by tenor Gwilym Bowen as the Evangelist…I found myself feeling as if Bowen was recounting his story directly to me, and me alone, even as I sat far away, in the Barbican stalls, amid a crowd of attentive listeners. Though he held a score in his hands, I’m pretty sure Bowen didn’t so much as glance down at it even once. Instead, with calm composure, he held the audience in his direct gaze and ‘narrated’ without undue mannerism or ‘theatre’ but with astonishing, magnetic musicality. His unaffected delivery was anything but unaffecting; even the most perfunctory phrases were shaped with consideration, care and eloquence. It made Bowen’s gradual introduction of increased heightening and colour so powerful | Opera Today

But the revelation of the evening - in terms of accuracy, sincerity and intensity - remains the dazzling tenor of British singer Gwilym Bowen: his voice shines in the light | classiquenews

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

Bowen was outstanding: his delivery of the Evangelist’s narrative struck the ideal balance of clarity, dramatic flow and tenderness. In the aria "Frohe Hirten", his expressive tenor proved to have great agility, matching that of the fine flute obbligato | The Guardian

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” | Bachtrack

If Bach’s St Matthew Passion were his opera manqué, then Gwilym Bowen’s Evangelist achieved divo status. He delivered narrative as living drama, never missing a detail or inflection New Zealand Herald

Gwilym Bowen, with his characterful tenor voice, highly projected, supple and expansive, plays the role of Flute, then Thisbé with a constant and convincing sense of comedy | Ôlyrix