Unequal temperaments on the piano

I happened to listen to videos of pianos tuned according to historical non-equal temperaments that are nonetheless "circulating" (meaning the circle of fifths closes). Examples include Lehman, Young, Kirnberger, etc. Such temperaments allow one to play in any key, each of which however differs from the others in the ratios between intervals; each has a "character"; modulations are more noticeable, certain chords are pure, others poignant: I am convinced that great composers chose keys and harmonies also based on this, as well as practical motives given by the peculiarities of the technique applied to different instruments. Equal temperament "tempers" the intervals so that the octave is divided into exactly 12 equal parts; in this way, the keys sound and are characterized in the same way, perhaps with too many compromises. Comparing the various temperaments, equal temperament solves many problems, but results in being "flat". What do you think?