Wagner's Der Ring des Nibelungen as a critique of nineteenth-century capitalism and industrialization. (I think those are both terrific, insightful stagings, but there are plenty of traditional opera lovers who disagree.)
The production of Mozart's Don Giovanni by the U-M School of Music, Theatre, & Dance departs from the opera's original setting in a sixteenth-century Spanish town, but the new locale and time period mesh so naturally with the libretto that even purists are likely to be at ease with the transition. There are enough differences in details, though, that the staging should offer fresh insights into the richly complex characters with which Mozart and librettist Lorenzo da Ponte populate the familiar story of Don Juan.
Opera studio program director Robert Swedberg moves the period to the late eighteenth century (Mozart's era) and the action to New Orleans--not as big a jump as it might seem, since the city was then under Spanish rule. The aria that numbers Giovanni's sexual conquests by country, ranging through Italy (640), Germany (231), France (100), Turkey (91), and Spain (1,003), now explains why the libertine feels he has exhausted his European possibilities and needs to explore the New World. The jilted Donna Elvira is given an unusually urgent reason (attend to find what!) for her long journey from Spain to Louisiana to confront Don Giovanni.