I'm assuming we're talking about shows that end without singing?
Aida Billy Elliot Chicago A Chorus Line (The reprise of "One" is actually the Bows.) Fiddler on the Roof The King and I A Little Night Music Matilda The Music Man My Fair Lady Promises, Promises West Side Story
Most of the shows mentioned here have numbers at the end of the score called "Finale" (or "Curtain Music" or some variant).
They just aren't sung "closing numbers." Two different things. A finale doesn't need to be a new sung song or a sung reprise. Sometimes, an orchestral swell and a bit of staging and/or dialogue (a la Gypsy or My Fair Lady) is the best choice to bring in the curtain.
On the flipside, 1776 has a "Finale" explicitly labeled and yet it is in no way a "closing number." It's one of my favorite Finales, as it happens, because it is the perfect way to end that particular show.
Words don't deserve that kind of malarkey. They're innocent, neutral, precise, standing for this, describing that, meaning the other, so if you look after them you can build bridges across incomprehension and chaos. But when they get their corners knocked off, they're no good anymore…I don't think writers are sacred, but words are. They deserve respect. If you get the right ones in the right order, you can nudge the world a little.
Miss Saigon doesn't have a finale as such (how can you do a megamix after she shoots herself?!). Neither does Follies, unless you count a tiny reprise of "Hey up there! etc." from Waiting For The Girls Upstairs. Also, doesn't Company end with no music at all. I wish also that Billy Elliot ended just with Billy going up the centre aisle, leaving his friend onstage alone with his bike, rather than bringing on all the tap dancing miners. The real ending of the show is beautiful and moving; the tacked on finale's just naff.
Your question is open to interp. But, In addition to those already mentioned (though I may repeat some of them) consider the following very memorable final curtains:
Fiddler on the Roof (a heartbreaking exit), South Pacific (incidental singing gives way to a heartbreaking entrance, a silent reunion, and a blissfully simple meeting of hands across a not so crowded table), My Fair Lady (a dry remark provides the controversial but so very persuasive change from the source material), Triumph of Love (a satisfying one-liner), Sunset Boulevard (a classic line from the classic movie), Promises, Promises (another classic line from another classic movie), Raisin (a classic exit from the classic play), Follies (exits of the principles give way to the best moment of the show as the four leitmotif lines are poignantly repeated by their ghosts, leaving us to wonder about what's next for their older selves), Company (blow out the candles, Bobby, and make a wish), 42nd Street (Julian alone on stage, a single ghost light casting his shadow on the wall, croons acapella the tonic line of the title tune), On The Twentieth Century (discovering that each has tricked the other, Lily and Oscar first scream at each other, then laugh, then lovingly fall into each other's arms), Carnival (Lili sees the puppet is trembling, lifts it off Paul's hand, Paul confesses his love for her, they follow the carnival).
The revival of Promises Promises added a small vocal coda, a mini-reprise of I'll Never fall In Love Again that leads into the famous cards line. If I remember, it did similar things throughout, making the musical feel less like a play with music and more like a full book musical.
And the "finale" song in Company has always been bow music, hasn't it? An encore, not a finale.