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Two productions that sold well, and sometimes sold out, reflected the company’s efforts to balance new works with the classics: “Omar,” the new Rhiannon Giddens and Michael Abels opera based on the autobiography of an enslaved Muslim scholar that won the Pulitzer Prize for music this week, and “The Marriage of Figaro,” the Mozart comedy.

Fleming and Elīna Garanča, exerting themselves magnificently in the Met’s current “Der Rosenkavalier,” were more vocally guarded in their appearances here, but Fleming, singing the Countess’s “Porgi, Amor” from “The Marriage of Figaro”—the opera in which she made her Met début—painted her lines with delicate lacquer; it was a touching farewell to the role.

It also includes a bumbling professor M.C.; a script by Craig Shemin, a former writer for the Jim Henson Company; and an introduction to the works “The Marriage of Figaro,” “The Magic Flute” and “Eine Kleine Nachtmusik,” performed by the orchestra and by young guest musicians.

No complaints either about the works themselves – the whole of the Marriage of Figaro, the Clarinet Concerto, the Flute Concerto No 2 and the overture to Don Giovanni.

Commissioned by Performa 11, the piece involved repeated performances of the denouement of Mozart’s “Marriage of Figaro,” the moment when the count gets down on one knee and asks his wife for forgiveness, which she grants in an aria.