Just a few thoughts from watching the videos.
The Carmen is much more nearly ready for performance than the Tannhauser, perhaps not surprisingly as Tannhauser is imo one of the hardest Liszt transcriptions. In principle, once it is tidied up (and it's not bad as it stands), I think you'll give a very convincing performance of it - it held together cohesively as a whole, which not all renditions of it do.
With the Tannhauser, it's a guess, but is tackling it a conscious attempt on your part to push and develop technique? One suggestion I would make is regarding the tricky passage from bar 39 onwards (and the recurrences of it). I can't see from the video, but I assume you're fingering it 12 12 12 in the lower rh notes? It's not easy to explain this sort of thing online, but I would practice it with that fingering with the 2 repeatedly coming over the 1 with a sort of dabbing motion. My experience is that you can play the passage cleanly with a fair amount of velocity that way (though having large hands surely helps).
You look as if you're quite tired by the end of it (hardly surprising really). It will be less tiring when you're more in control of the technical aspects and able to relax when playing.