It's important to remember that the use of rotary trumpets has nothing to do with historical authenticity. They've caught on because some notable players and conductors like the way they work for some of the Germanic repertoire.
There's a couple of European groups who've adopted using valveless trumpets for Baroque and Classical era literature. Chamber Orchestra of Europe's Beethoven Cycle with Harnoncourt is all natural trumpets, (seem to remember reading that in the liner notes anyway).
I also hear that Mario Venzago, who conducts the Indianapolis Symphony, has been discussing the use of such instruments with the section there. Needless to say, I think it would count as two doubles!
About other such instruments, I'm sure Doug Yeo (to use your example) didn't just show up one day and say "Guys, I'll be playing this on the Rossini - cool?" He's put a lot of effort into learning that thing, and would only have suggested it if he was sure it would work.
Anyway, I think what early instrument groups have shown us is that stylistic tendencies favored by those instruments do a lot to "clean up" our perceptions of how to play them. Understanding how to phrase baroque music, for example, has been greatly informed by early instrument virtuosos. To some degree, we can replicate these stylistic aspects on modern horns.