…the singing was of above average quality, most noticeably by the title role: Michael Putsch belongs to that rare species of singers, those who even in the difficult passages produces an attractive, cultivated tone, and thanks to a reliable technique whose text was understandable from the bottom ... to a blazing heroic top. In addition Putsch showed his understanding of the confusion in the character, its instability and demonstrated this by his emphasis, bearing and the tension in his entire body. Der neue Merker 11/2003

…above all Michael Putsch in the title role. A Poet, who craves society’s recognition, without obeying the rules. With obvious enjoyment he breaks taboos, is arrogant, and provocatively justifies his sexually motivated mesaillance with Venus.
Impressive too, how Putsch shows the fall from grace of the independent artist in to the erotic vacuum of his relationships……….How intelligently he approaches this murderous role, how calmly and with such clear diction he encompasses the whole part, not just the Romerzählung with his voice with, at the top, astonishingly shining tenor sound, this is worth hearing. Susanne Kaulich WN/OZ

Michael Putsch’s Max is sensational. The voice is elastic, focused, and with an easy top. The Text is clear and almost always understandable. A noble interpretation of the role that one should not miss. Matthias Roth 2003

A singer with a shining voice, that brings the most beautiful sound to the operetta…. his tenor instrument is nicely focused and clear….he has a full palette of colours to bring to this delicious music. Rainer Köhl
Admirable too, was the way in which Michael Putsch adapted to the oratorio style. He sang with not only astonishing clarity, but also with diction and understanding of the text. Hans Linder, Bremerhaven (Paulus)