Although many New York opera buffs still think of its Lincoln Center location as the new house, the Metropolitan Opera celebrated its 40th anniversary there on Tuesday evening. For this fund-raising event, the opera relied on two of its most bankable stars, Anna Netrebko and Rolando Villazón.

They did not disappoint. The atmosphere was anticipatory but relaxed in the house, as this anniversary party contained not an opera but rather three distinct scenes in three differing styles. With no pressure to develop a character, the singers could unbutton and concentrate on fluidity, aided by the appropriately unobtrusive conducting of Bertrand de Billy.

Mr. Villazón had the run of “La Bohème” this season and was rather wooden on opening night. When Ms. Netrebko made her one and only appearance as Mimi in December, however, he seemed much more inspired. She definitely brings out the best in him. He got over some initial nasality in Che gelida manina and by O soave fancuilla, the Mexican tenor sang with a long, flowing line. He was in rare form.

Ms. Netrebko is a stunning Mimi, with a full voice augmented by the richest of hues. She is also a fine actress — she toned down the morbidezza a little for this event, but still made it clear that her character was in poor health. Hearing her twice this season convinced me that she may very well be the best Mimi the Met has enjoyed since it opened its doors in 1966.

Jules Massenet’s Act 3, Scene 2 of “Manon” provided an opportunity for Ms. Netrebko to shine as an actress, and her N’est-ce plus ma main que cette main presse was notable for an undercurrent of sexuality amid the sacred surroundings. Her French diction, often the bete noir of Russian singers, was fine. Both she and Mr. Villazón demonstrated that they can be febrile with the best of them, his Ah! Fuyez douce image a prelude to his most delicious singing of the evening.

Sometimes, one aria can resurrect an entire opera. The Met remounted the obscure Donizetti comedy “L’Elisir d’Amore” because Enrico Caruso wanted to sing Una furtiva lagrima, and made a very popular recording at the same time. Mr. Villazón may not be a Caruso, or even a Pavarotti, in this piece, but he acquitted himself respectably. Ms. Netrebko was able to display her coltish athleticism with very entertaining dancing. Still feeling her way in the bel canto, she even managed some elementary ornamentation that was really quite charming. She is an Adina to be adored, even without a love potion.

There was another star in this particular firmament, as Polish baritone Mariusz Kwiecien gave a robust account of Puccini’s Marcello and a lovably nimble reading of Donizetti’s Sergeant Belcore. Samuel Ramey was the Count des Grieux in the church scene, and his now expected vocal wobble added considerable character to the role — talk about turning a negative into a positive. Monica Yunus was refreshingly sweet as Giannetta and Alessandro Corbelli was genuinely funny as Dulcamara.

The productions? Well, Zeffirelli’s “Bohème” is silly and overcrowded, but many fans love it. The Jean-Pierre Ponnelle “Manon” may be the best in the current Met arsenal, each set design and costume change integrally a part of the storytelling and the personalities and motivations of the characters. And the confectionery sets and costumes of Beni Montresor for “L’Elisir” are just wonderful and sent the audience off to dinner with the stars in the happiest frames of mind.