I see it in a more positive perspective.
What I like about classical crossover is that it is a musical two way street. We can have modern songs done in a classical style or classics done in a modern style. When done right it can be very refreshing. Like any other genre, when done wrong..............
As for real orange juice, even on a purely performance basis not counting the quality of the recording one could have a wide range of preferences between interpretations of various conductors and soloists. This also makes it extremely enjoyable for me and keeps the pieces fresh. A reason I have many recordings of my favorite pieces done by different conductors/orchestras/soloists. I must confess that never has a crossover version toppled a classic rendition of a classical piece in my book and this includes works of crossover vocalists like Jenkins, Sissel, Church et al. Yet, thanks to this thread, the crossover rendition of the Dance Anthem "Children" gobsmacked the original modern song by Robert Miles, so much I think I am now loath to listen to the original which now comes of as emotionally flat and somewhat contrived despite almost two decades of dance culture cult status. And even if none of the crossover takes has gotten the top spot, it hasn't stopped me from enjoying said versions given a particular mood or within the context of different playlists under construction.
What I find best about it is that crossover artists serve to broaden the classical market and this will hopefully make more people seek out their local orchestras and buy tickets. To keep classical music alive, the houses must keep their doors open. Where else can the conservatory graduates go to mature and master their crafts? Surely not at corporate events and weddings!