Rossini’s Aureliano in Palmira is a rarity for a whole host of reasons. There’s no definitive edition. Many of the extant scores have much easier versions of the main arias for the tenor titular character. Quite a bit of the music was reused for Il barbiere di Siviglia, often in ways that seem quite odd after hearing it in its original context. Finally, the plot is a bit thin. Not that that usually worries bel canto aficianados.
Mariusz Treliński’s Eugene Onegin originated in Warsaw but was filmed in Valencia. It’s distinctly on the Regietheater end of the spectrum but it’s intense and oddly compelling. The sets are spare and almost abstract. A silent character, O***, is interpolated. he’s a sort of Commendatore’s ghost who comments on the action and interacts with characters at key moments; with Tatiana during the letter scene and with Lensky before the duel for example. A lot of action takes place in front of the pit, usually simultaneously with action further back on stage making for quite complex (and hard to film) visuals.