Modern opera staging

In the last several decades the role and importance of opera directors and stage directors have increased dramatically. Operas are increasingly advertised and described as "new staging" by the famed film director, sociology professor, pornographic expert, and so on (you name your favorite). It seems that singers are almost secondary except for a few super-superstars like Gheorgiu, Alagna, Netrebko, and Villazon.

Increasingly the staging and the direction has little to do with the plotline, or fidelity to the text. The singer may sing about his beloved swan, but more likely that instead a motor boat will arrive, preferably with at least half-nude women, the beloved trope by directors who are out of ideas. If the libretto speaks of a sword it is just as likely that a pistol (if not a machine gun) will appear.

Most of these directorial "improvements" go against the expressed wishes of the composer or the librettist. My modest proposal is that as long as the director plays fast and lose with the story, why not re-write the text to fit the action since most of the audience doesn't speak Italian, Russian, French, let alone Hungarian. Once the audience and the all-too-eager-to-approve critics get used to the idea, the manager may as well hire a composer to re-compose the music to fit the ideas of the stage director. After all, if Gotterdammerung is staged to take place in Harlem, the music should also be appropriate: a bit of Duke Ellington, maybe Ragtime, or maybe a modern rap artist.
If the same opera is moved to Hungary, an appropriate czardas would take the place of a minuet.

Come to think there is no need to keep the singers, they could be replaced with today's pop, rap, country or other artist (if that is the right word).
I am sure Mozart, Verdi, and Wagner would applaud.