MBO and Mime Brinkmann exemplify collective mastery of the baroque idiom

Melbourne Baroque Orchestra with Mime Brinkmann, Cello | Bellissimo Cellissimo

April 26, 2024, Williamstown, VIC

In the resonant acoustics of Williamstown’s Holy Trinity Anglican Church, the Melbourne Baroque Orchestra presented an exquisite evening of cello-centric compositions entitled “Bellissimo Cellissimo”. The performance not only showcased the ensemble’s rich tone and precise intonation but also highlighted the virtuosic talents of guest soloist Mime Brinkmann.

Brinkmann is a distinguished cellist with a background in both modern cello and historical performance, and with performance diplomas from Tokyo’s Toho Gakuen School of Music and The Royal Conservatory of The Hague. She brought her unique artistry to the stage through both her cello playing, as well as a small amount of acting. Brinkmann’s performance consistently demonstrated her virtuosity, marked by pinpoint accuracy and a deft touch that brought even the most difficult passages to life with apparent ease.

The concert opened with Bach’s Prelude from Suite I in G Major for solo violoncello, which established a standard of excellence that persisted throughout the evening. As the music began, however, the orchestra was nowhere to be seen. The orchestra members appeared part way through the Prelude before joining the soloist in a direct segue into one of the evening’s many highlights, Vivaldi’s Cello Concerto in G Major, RV413. Brinkmann’s performance was both dynamic and delicate, and commanded attention with every note. The dialogue between Brinkmann and the orchestra was seamless, exemplifying their collective mastery of the baroque idiom.

The evening also featured Vivaldi’s Concerto for Two Violoncelli in G minor, RV531, where Mime was joined by Melbourne cellist Josephine Vains. The interaction between the two cellists was a delightful interplay of melodic lines, with Vains’ cello blending beautifully with Mime’s where appropriate, and providing a contrasting voice at other times.

The program later ventured into the French Baroque, with Michel Corrette’s cello quartet Le Phenix, where Mime and Josephine, alongside Melbourne cellists Rosanne Hunt and Fiona Piggott, displayed a cohesive and engaging performance. The quartet’s synergy was palpable, each cellist adding layers of warmth and depth to the piece.

Several pieces by Handel were woven throughout the program, offering further opportunities for the orchestra to showcase their adept handling of baroque affect, as well as providing occasional opportunities for the upper strings to demonstrate their technical capabilities.

The performance concluded well outside the Baroque period, with the four cellists playing an arrangement of Johann and Josef Strauss’ Pizzicato Polka as an encore, a delightful surprise at the conclusion of this hour-long concert.

“Bellissimo Cellissimo” was a celebration of the cello’s lush sonority and the enduring beauty of baroque music. The Melbourne Baroque Orchestra, under the luminous lead of Mime Brinkmann, not only entertained but elevated the spirits of all who were fortunate enough to attend. This performance was a testament to the timeless appeal of Baroque music, and especially the continued relevance of historically-informed performance in today’s musical landscape.