The ending of Turandot could be fixed

Apologies to anyone who likes the original ending, but I watched Turandot in full for the first time yesterday and it struck me how bad the ending was. After reading some opinions online, I think I'm not alone

I'm taking about the ending purely in dramaturgical sense, I know about the issues with the opera music being unfinished at the moment of Puccini's death, but that's not what I mean here - more that the ending is emotionally very unsatisfying as Liu, a sympathetic character with great arias, dies and the two main characters appear very callous and cruel, and (after some terrible dialogue) get their happy ending

This could be easily fixed, with the opera being the same as it is up until the scene of Liu's death. Then, Liu announces she's going to kill herself rather than reveal the name, and raises a knife. Seeing this, Calaf shouts "Wait!" and in a dramatic moment reveals his name, deeply shocked by Turandot's cruelty and his own callousness which has led him to risk the lives of innocents, including his own father. He feels shame at a slave, Liu, doing more to save his father than himself, a prince, and calls his pursuit of the cruel Turandot madness which he has to pay for. Turandot is triumphant and derides Calaf not only for being emotionally weak, but also a prince from a deposed royal house. She orders the guards to take Calaf, Liu and Timur away and her officials to prepare everything for a morning execution.

As she's left alone, there's a scene in which Turandot has another great aria. She begins with being happy about once more winning over a man and being able to avenge her ancestor (leitmotifs from In questa reggia are used). But then, as she sings about male cruelty, she realises that Calaf selflessly offered his life. She has doubts. Maybe not all men are terrible? Or at least not this man. She also doesn't understand why a prince would sacrifice himself for a slave girl, and that makes her jealous of Liu. She also wonders what's so great about Calaf to make Liu sacrifice herself, and realises her own attraction to him. The aria ends with her confusion at her own changing feelings, and saying she must meet the rising sun for the execution.

Last scene, everything is prepared for execution, Calaf held by the guards, to the side Liu and Timur also restrained by the guards. Turandot enters, not saying anything, but she and Calaf gaze at each other and the "loving" music from the last aria can be heard. As Turandot walks up to a throne in the center, the choir/crowd comments quietly on one more charming prince being beheaded soon, but also on Turandot looking pale and confused like never before. Finally, with ceremonial music, the emperor asks Turandot if she knows the name of the prince. After a pause, Turandot says she does, gazes at Calaf in a tense moment, and then says his name is love. Calaf looks at her, amazed, and exclaims "Victory! Love!", the crowd celebrates and the emperor joins Turandot's and Calaf's hands together.

The possible weakness of this ending is Calaf's personality change necessary to save Liu, but the text would make his remorse about his madness and unwillingness to sacrifice others for the cruel princess clear. Of course the opera is still weird and cruel with all the princes being beheaded, but the audience doesn't get emotionally attached to them as it does with Liu, and one could argue they made their own choice. Also, I think my ending would work better for the Magic Flute-like fairytale quality of the opera

I know there have been some attempts to create a new ending for Turandot, but not sure if anyone would go that far. Still, it's nice to think about imo, or it could be a good exercise at a screenwriting course. Curious to hear if people have any other ideas!