The Richard Tucker Gala is a big event on the operatic calendar. Every year, the foundation named after the late, great tenor gives out a major award to an upand-coming singer. And this fundraising gala is held, presenting a parade of stars — many of them past Tucker winners themselves.

This year’s Tuck-o-rama unfolded at Avery Fisher Hall on Sunday evening. The Israeli conductor Asher Fisch led “Members of the Metropolitan Opera Orchestra,” as the program booklet phrased it, along with the New York Choral Society. This event always feels under-rehearsed, if not unrehearsed. There is a seat-of-the-pants quality to it. But the results can be wonderful.

Near the beginning of the evening, Barry Tucker, the tenor’s son, gave his annual address, in his glorious New York-ese. He hailed Peter Gelb, the Metropolitan Opera’s general manager, who, he said, is making opera “hip and cool.” Yeah, that’s what they say. Lotsa luck. How about keeping opera good? That would be achievement enough for any Met GM.

Mr. Tucker also paid tribute to Luciano Pavarotti, who died in September. Then he played a video showing Pavarotti and Richard Tucker singing “La donna è mobile.” How’d that work? Through the splicing together of two films: Tucker would sing one line, and Pavarotti would sing another. Tucker’s tempo was faster than Pav’s. But no matter. And Tucker got the last word — as is perhaps appropriate in his gala.

This year’s award winner was Brandon Jovanovich, a tenor from Billings, Mont. He sang Wagner’s “Winterstürme,” and did so rather heavily, gulpily, and slidily. Approaching verismo-style. But he has an admirable voice.

Then came the parade of stars (and not-quite-stars). The British baritone Simon Keenlyside sang the Prologue from “Pagliacci,” using hat and scarf as props. He was in fine, gleaming voice, and enjoyed himself. Diana Damrau and Joyce DiDonato walked out for the Presentation of the Rose (“Der Rosenkavalier”). Ms. Damrau was as she usually is: sinuous, slinky, delicious — floating her high notes. Ms. DiDonato was regal.

Then Eric Cutler, an American tenor, sang the aria from “Roméo et Juliette.” He proved a worthy French interpreter, if a tad forced. Then the Polish baritone Andrzej Dobber — substituting for an ailing Bryn Terfel — sang the Te Deum bit from “Tosca.” He was short on power and short on snarl — but he was sturdy enough. Matthew Polenzani sang “Ella mi fu rapita! … Parmi veder le lagrime” from “Rigoletto.” This is a notoriously difficult aria. Mr. Polenzani sang it with obscene ease. It might as well have been “Twinkle, Twinkle.” There were two imperfect notes, including a big high one. This only showed how good the rest of the notes were.

Then Ms. DiDonato reemerged to sing “Una voce poco fa.” She was substituting for Susan Graham — and had flown all the way from Switzerland to do so. It was worth it, certainly for the audience. In “Una voce,” Ms. DiDonato was viper-like, charming, and dazzling. She can dream up no end of interpolations for this aria. I wish Rossini could have heard her.

Ms. Damrau and Mr. Cutler sang a duet from “Don Pasquale,” warbling nicely. And then Luciana D’Intino walked out. Do you know this formidable lady? She is an Italian mezzo, and one of the great Verdi mezzos in the world. Fittingly, she sang “O don fatale” — and sang it awesomely. I wish Verdi could have heard her.

No gala would be complete without “Au fond du temple saint,” the tenor-baritone duet from Bizet’s “Pearl Fishers.” Doing the honors were Messrs. Polenzani and Keenlyside, and they were creamy and satisfying. The orchestra’s flute gave a nice assist. Another frequent gala duet is “Ah, guarda, sorella,” from “Così fan tutte.” Doing these honors were Ms. DiDonato and Renée Fleming. Ms. Fleming was less pure than she can be in her Mozart. But one should not complain.

At this point, we had the Russian soprano Maria Guleghina, singing “Pace, pace” (Verdi). She was somewhat rough — and her Italian diction won’t win any prizes — but she was definitely powerful. Verdian. When she was through, Mr. Dobber gave us some more Verdi: “Cortigiani, vil razza dannata,” from “Rigoletto.” The sturdy baritone was flavorful, and did himself most proud.

Then it was Diana Damrau Time, in a big way. She sang “Glitter and Be Gay,” and chewed it up. This was the hammiest “Glitter and Be Gay” in world history. But it was also irresistible. Ms. Damrau was born to sing this flirty, pouty, high-flying song. You couldn’t understand many of the words. But you really didn’t need to. I have said, more than once, that Ms. Damrau has a little Lucille Ball in her — and she confirmed this on Sunday night. She is an extraordinary combination of Lucy and Grace Kelly. (But could those ladies sing a lick?)

Then Renée Fleming came back out, saying, “Imagine having to follow that.” But follow it she did, singing “Poveri fiori” (Cilea). I will say again what I’ve said frequently about Ms. Fleming (and Leontyne Price and others): One man’s mannerisms are another man’s endearing characteristics. Ms. Fleming sang this aria Flemingesquely, and that was good enough for most.

Finally, Maestro Fisch led parts of the Triumphal Scene from “Aida.” Onstage were a massive chorus, a massive orchestra, and five soloists. Plus, brass were in the balconies. It was an avalanche of sound. And Maria Guleghina was prominent through it all. The forces were almost out of balance, so powerful was the soprano!

Yes, the Richard Tucker Gala is a big event on the operatic calendar, and this was a wonderful evening of opera singing. Let’s hope it raised a boatload of money, too.