After challenging audiences to think outside the box with the post-war Peter Grimes and an Americanized Siegfried, the WNO returns fully to the fold with season-closer Turandot (TWO STARS). Suggesting a piece of Chinese puppet theater come to life, this is a visually striking production filled with color, dance and tableaux. For newcomers, it's a highly accessible opportunity to experience Puccini’s remarkably complex score which still manages to pack an emotional punch that puts Andrew Lloyd Webber to shame. Though not the most innovative of productions, this would have been stellar but for the uneven singing. The greatest disappointment is tenor Dario Volonte in the role of Calaf, the suitor willing to risk all to win the hand of Princess Turandot. Though Volonte has a pleasing virility to his tone and technically sang well, he is regularly lost in the orchestra. He may look the part, but his lack of power takes the oomph out of Calaf’s eagerness for Turandot. Maria Guleghina, by comparison, sounds like she's working through a bullhorn. It's a distracting disparity, not helped by Guleghina’s occasional troubles with pitch and tone. The overall best singing of the night comes from Sabina Cvilak as the ill-fated servant girl Liu. Cvilak sings with full, sweet tone and an almost ghostly wistfulness that nearly stole Turandot’s (much louder) thunder. Morris Robinson delivers a nicely resonant Timur and Robert Baker a suitably decrepit Emperor, but the three clowns Ping, Pang and Pong -- Nathan Herfindahl, Norman Shankle and Yingxi Zhang, respectively --lack vocal and theatrical cohesion. Overall, a crowd-pleaser. Thursday, May 21, at 7:30 p.m.; Sunday, May 24, at 2 p.m.; Wednesday, May 27, at 7:30 p.m.; Saturday, May 30, and Monday, June 1, at 7 p.m.; and Thursday, June 4, at 7:30 p.m. Kennedy Center Opera House. Tickets are $25 to $300. Call 202-295-2400 or visit www.dc-opera.org. (Kate Wingfield)