The Metropolitan Opera 2015-16 season came to end last weekend. It was not only a season of great performances but it also concluded the tenure of Music Director James Levine. After his final performance Levine will become Music Director Emeritus and will continue to lead a number of performances.

With the season over Latin Post takes a look at some of the most thrilling and unforgettable performances of the season.

Il Trovatore

When the Met revived the David McVicar production of Verdi's masterpiece, there was a certainty that this would be a night to remember because diva Anna Netrebko was making her Met role debut as Leonora. However, audiences did not expect is that the Met had assembled one of the best Trovatore cast in years and each singer was up to the level. Add in the fact that Dmitri Hvorostovsky was returning from battling cancer and this was a night to remember. Not only was the singing spectacular but the audience gave off an energy that brought back listeners and viewers to the Golden Age of opera.

Sondra Radvanovsky

One of the towering achievements of the season was Radvanovsky taking on the Tudor Trilogy by Donizetti. Radvanovsky revived "Anna Bolena" and "Maria Stuarda" and brought the productions to another level with her acting and her vocal fireworks. By the end of the season, Radvanovsky premiered 'Roberto Devereux" and here she showed a decaying queen and yet brought so much dignity and pain to the role. These were tour de force performances that made Met history. Anyone that witnessed them has a memory to be cherished for time to come.

Elektra

Richard Strauss' score features one of the most difficult soprano roles in the repertory and is sometimes very difficult to cast. Nevertheless the Met brought together a powerhouse cast led by the extraordinary Nina Stemme. Her performance was a transformative one that vividly showcased the character's lust for revenge and her insanity. And the supporting cast was also spectacular with Waltraud Meier as Klytamenestra, Adrienne Pieczonka as Chrysothemis and Eric Owens as Oreste. Patrice Chereau's production brought out the raw emotions of their characters while Esa-Pekka Salonen brought out all the colors in Strauss' raging score.

Kristine Opolais

If there is any soprano who knows how to sing with raw emotion it is Kirstine Opolais. While "Manon Lescaut's" production could have marred the performances, Opolais shined through any distractions and brought out Puccini's character. In "Madama Butterfly," Opolais sang with so much passion and emotion that is was hard to contain the applause. The intensity that Opolais brings to each of her heroines is incomparable and she continued to show why she is the leading Puccini singer in the world.

Roberto Devereux

Sondra Radvanovsky was undoubtedly the star of the production but her cast was also spectacular. Elina Garanca returned to the Met in one of the most spectacular turns and threatened to steal the show each time she sang on stage. Matthew Polenzani brought some of his most dramatic singing ever and Mariusz Kwiecien showcased his charisma in the role of the Duke of Nottingham. This evening was a night of true vocal fireworks.

Sonya Yoncheva

It's hard to shine when you aren't playing the lead character in "Otello." However, Yoncheva's portrayal of Desdemona was the most unforgettable part of this new production. Not only did she sing with intensity but she brought vocal purity to the role with gorgeous phrasing and beautiful pianissmi. If her acting wasn't always compelling, Yoncheva's vocal skills showed a true star in the making.

Lulu

Marlis Petersen is well known for her virtuosic portrayal in Alban Berg's last opera and when she announced that this would be her last run of the work, audiences were even more excited for it. The outcome was a night to remember with Petersen transforming from a glamorous young girl into a wretched prostitute. Petersen not only conveyed the character's sexuality but she also conveyed the tragedy of this character without ever going into clichés of the femme fatale. Petersen was helped by a top notch cast that included Susan Graham, Daniel Brenna, legendary baritone Franz Grundheber and the extraordinary Johan Reuter. Finally director William Kentridge added a demonic touch to the proceedings making for an unforgettable night.

Javier Camarena

The golden-voiced tenor of our time returned to the Met in a show-stopping performance of Donizetti's "Don Pasquale." Camarena relished every moment on stage and was not afraid to jump and run all while dispatching high notes. But of course the most unforgettable moment of the night was when he dispatched the D Flat at the end of the cabaletta "E se fi ache ad altro oggetto." The audience erupted in applause threatening to stop the show and in subsequent performances of the run Camarena encored the cabaletta.

Les Pecheurs de Perles

Bizet's opera had not been seen in 100 years so it was important that the Met get this production right. The result was one of the most visually striking productions in recent Met history with an incredible cast. Diana Damrau led the charge and brought her vocal artillery with striking high notes but a dramatic force that is unstoppable. Matthew Polenzani brought a purity of colors while Mariusz Kwiecien sang with his usual allure. Gianandrea Noseda brought out so many colors in the score while Penny Wolcock modernized the opera without ever disrespecting the work.

Anna Netrebko in recital

Netrebko has showcased dramatic force and glamour in her portrayal on stage. However, sometimes all of these elements cause some people to overlook her phrasing and her vocal technique. In this recital in which she showcased Russian song, Netrebko brought a new side to Met audiences showing off a different part of her voice. This was all about showing off the voice and the range of dynamics and color Netrebko's instrument is able to obtain.

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