From my experience, Bartel, though admittedly good, pales in comparison to predecessors like Groh, Anders and Fehringer. As mentioned earlier, his voice isn’t as warm as Groh’s, his singing isn’t as elegant and polished as Anders, and even if he does sing with feeling, you can’t call that emotion when you compare it to Fehringer. Nevertheless, he does give a good performance. To me, what defines his singing is its dreaminess, if not "folksiness." His singing feels quite light and is relatively easier on the ear. When he goes for the ‘’high notes.’’ the ease and smoothness with which he does it is most attractive, even if they do not "ring" like those the great opera singers deliver. There is some feeling in the performance but he gives you the impression of someone who loves rather than someone madly in love.
Of the three tenors whom Marszalek cast in his operetta broadcasts and recordings from the 60s, one of them was the provincial lyric tenor Reinhold Bartel, whom we discussed earlier. The other two were the Hungarian spinto tenor Sandor Konya and the German lyric tenor Fritz Wunderlich. Konya sang a wide range of German and Italian lyric and dramatic tenor roles as well, including Parsifal, Rodolfo, Dick Johnson and many more. Today, Konya is perhaps best remembered for being a near-perfect Lohengrin, a superb Walter, and a much-appreciated Edgardo. These achievements have overshadowed his work as a consummate operetta singer in Marszalek’s performances. Konya had been cast by Marszalek in his operetta broadcasts and his performances of the great operas in German on the radio even as he maintained his flourishing international singing career.
Buffo Peter Alexander, on the other hand, did not come from an operatic background, but was something like the German-speaking world’s Frank Sinatra. Just as Frank Sinatra occasionally performed on Broadway, operetta was very much part of Peter Alexander’s repertoire. In the operetta broadcasts and recordings, he was good fun to listen to, bringing as much charm and sentiment to the musical numbers he sang as his operatic colleagues did. Here he is with Herta Talmar in the Piccolo-Duet from Oscar Straus’ Ein Walzertraum