I don't think I understand you. Are you saying that LR changes the RAW file when it displays it?
Yes, that is absolutely what I'm saying. That's what Raw converters do; LR, ACR, C1, DPP, the converter inside your camera, all of them. They don't change the Raw file itself, but they read the Raw data from the file and then change it fundamentally. The Raw data is the essential first ingredient in a complex process that produces a color image, but the Raw itself contains no color data except by inference, it is a record of the intensity of the light that struck each pixel - greyscale data, one value per pixel, but not the color of that light. Since the pixels sit behind red, green or blue filters the single value represents the intensity of red or green or blue light, but the pixel itself contains no indication of which one of the primary colors it represents, the converter infers it from the position of the pixel in the grid. But that accounts for only 3 colors out of the possible 4.4 trillion that can be represented by combining the R, G and B and having three values in each pixel. The converter creates those 4.4 trillion colors by a process called demosaicing in which for each pixel the other two "missing" values are interpolated from neighboring pixels. Thus the colors created are very much dependent on the demosaicing algorithms used and as well as the colors they also influence local contrast, sharpness and detail rendering and noise.
After the converter has a color image the next step is to adjust those colors according to how the camera reacts to various subject colors and various light conditions as is recorded in the camera profile. The converter designers also create several variations on the basic profile in order to give the user a choice of color renderings - Picture Styles in the camera and DPP or DNG Camera Profiles in LR and ACR.
The next step is white balancing, in which the red and blue values are all multiplied by the amount necessary to make grey subjects be rendered as grey images. The greens are generally left unchanged or only slightly changed unless there has to be compensation for light that has a strong green element, some fluorescents or light reflected from foliage.
All this is done in the first few seconds after you open a Raw in the converter (and much faster in the camera) and then you, the user, get the opportunity to change the colors and tonal levels the converter has created. If you don't care for the reds the converter has created as it built on and expanded the Raw data, you are free to do so - unless the converter is the one used by the camera as it produces a jpg, in which case your ability to change the colors is not as flexible.