So far, I have purchased Marriage from Royal Opera House, Teatro Real de Madrid and Opera Australia. The singing and the orchestra in all were excellent. I have no problems there, but in the sets, dramatic actions, overture drama, and the non-verbal parts I encountered some major differences.
I was upset with the use of anachronistic set design with the Opera Australia, particularly the use of a floor hair dryer, red lounge chair, and electric iron, etc amid 17th century costuming and sets. This puts this version at the bottom of my list.
In the version from Madrid, I found the set design much better, especially hiding under the bed scene and the Spanish influence in the set design. However, I found a lack of dramatic non-verbal action in the faces/bodies of the main characters. It reminded me of a stand up singing of a pop star. I would place this version second on my list. I was pleased to see Barbara Fritoli whom I have not seen since the Met's Carmen.
The best version came from London. The non-verbal story during the Overture and the dissolving into the room which slowly glided onstage to allow the transition into the first act. The four plot lines (countess/count, Figaro/Susanna, Bartolo/Marcelina and the eves dropping servants) kept me glued to the story. In addition, all of the non-verbal facial expressions and body language gave depth to the story. In one sense, one could watch this version without the sound and still understand the storyline. One example, the scene at the beginning of the third act in which Susanna has refused the count's lustful advances (all displayed in his face and body language) when she suddenly says, "Yes!" and he jerks his head around with the surprised look on his face. This version was riddled with non-verbal action to further the plot lines. All the characters including the servants and the cleaning woman made this story a delight to watch over and over again, which I did.