Since the art form of opera debuted more than 400 years ago, hundreds of operas have entered the popular canon. And Ian Campbell -- general and artistic director of San Diego Opera since 1983 -- has either performed in, produced, directed or attended most of them over the years.

But there is one opera that stands out above the rest as Campbell's personal favorite -- Richard Wagner's "Tannheuser," which he'll produce in San Diego this week for the first time in nearly 40 years.

Campbell has long dreamed of bringing "Tannheuser" to San Diego, but he didn't want to do it until he had the right production and cast to make it as memorable as the production that stands out in his own memory.

"On Dec. 23, 1977, a performance at the Metropolitan Opera burned itself forever into my memory," Campbell said of the "Tannheuser" production designed by Gunther Schneider-Siemssen that was so beautiful, it brought audible gasps from the audience. "Once I came to San Diego Opera, I knew it was the one production I wanted to see on our stage."

Campbell started out as a tenor in his native Australia, and his love for "Tannheuser" began when he first sang in the opera at the Sydney Opera House in 1973.

"I loved it then and I love it even more now," Campbell said. "There's something spiritual about it that reaches me. Its message is that you can connect with God and people can redeem you. I wanted to produce it for a long time, but I put it off until I found the right cast, which I believe I have."

Besides re-creating the Metropolitan Opera's epic sets and using the Met's costumes, Campbell has hand-written all of the translation supertitles himself, and he has brought in a world-class cast to bring the medieval story to life.

"Tannheuser" is the story of the medieval knight Tannheuser, whose past liaison with the goddess of love, Venus, has led to him being condemned by the pope. Indiana-born (but Germany-based) heldentenor Robert Gambill will make his company debut as Tannheuser, a role he has played more than 70 times around the world. German mezzo Petra Lang will also debut here as Venus. Finnish soprano Camilla Nyland makes her U.S. debut here as Elisabeth, the woman who redeems Tannheuser with her love and sacrifice, and Canadian baritone Russell Braun will play Wolfram, the same role his late father, German baritone Victor Braun, was famous for. Germany's Michael Hampe directs and Gabor Otvos will conduct.

Campbell recently talked about the "Tannheuser" production, as did members of the cast at an artists' roundtable last week. Here are excerpts from their comments:

Q: Why was it important to you to re-create the Schneider-Siemssen production?

Campbell: Gunther's designs … were re-creations of the production he designed originally for the Vienna Staatsoper. The Metropolitan Opera chose to re-create his designs, though on a larger scale for their stage, because they, as San Diego Opera does, recognized them for what they were -- classic depictions of the time and place in which this medieval tale is set.

The Metropolitan Opera is allowing us to use their gorgeous costumes for this production to preserve the integrity of the concept. We could have created a new design based on a medieval setting, but nothing can match the grandeur and beauty of what Gunther has achieved."

Q: Will Michael Hampe also try to re-create the stage direction of that original staging?

Campbell: No. (He) will direct the cast from his own viewpoint, and our choreographer will create her own ballet. Every opera is reinterpreted by every director, and no two "La Bohemes" are exactly the same, and nor are any two "Tannheusers."

Q: This production will use the first, or Dresden, version of Wagner's opera. Why did you choose to do this version?

Campbell: We have chosen to use Wagner's original Dresden version for these performances. Wagner added to that original composition for the Paris version. which has, among other things, an extended ballet in the first act. "Tannheuser" has not been heard in San Diego for almost 40 years, and most of our audience is unfamiliar with the opera. The Dresden version gets into the action sooner, while still providing time for the ballet to establish the sensuality of Venusburg, and the passion which has controlled Tannheuser until then. It is shorter, and there is no reason for anyone to feel threatened by a long Wagner opera. The time flies by because of the power of the drama and the music."

Q: How did you select your cast?

Campbell: I had known Robert Gambill's work for some time, and had seen him develop into a Tannheuser of quality and respect. So he was put on hold until we found an Elisabeth. By coincidence, I heard Camilla Nylund in a terrible production of "Tannheuser" in a European opera house, expecting to hear a quite different soprano. I was so pleased I went to see her that night and told her we'd be asking her to come to San Diego. Then came the delightful Petra Lang, experienced in the role of Venus in both the Dresden and Paris versions, and long a favorite of mine in her specific repertory. Each of these singers has sung their role previously, but the role of Wolfram was offered to the baritone, Russell Braun, who had not sung it previously. His father had been a noted Wolfram who recorded the role with Georg Solti conducting, and it seemed time for Russell to follow in his father's footsteps as he had the vocal weight the role requires, and the subtle beauty which is essential. The significance of taking on the role was not lost on him.

Q: What appeals to you most about this opera?

A: Gambill (Tannheuser): It's tragic. He takes a great fall and makes big mistakes, but he doesn't realize it until he looks into her (Elizabeth) eyes. It's an opera of great extremes. … The great thing in Wagner's music is the contrast from the greatest heights to the most delicate. There are so many colors in his music.

Why do you think "Tannheuser" is so popular with Wagner fans?

A: Nylund (Elizabeth): It's a fantastic piece of music with a great chorus and lots of hits in the score.

A: Otvos (conductor): It's Wagner's most popular piece and it's the most complicated. Why is it popular? It's beautiful. You have wonderful music and a very dramatic story. I can't imagine anybody wouldn't like it.

"Tannheuser"

When: 7 p.m. Jan. 26, 29 and Feb. 1; 3 p.m. Feb. 3

Where: San Diego Opera at the San Diego Civic Theatre, Third Avenue at B Street, San Diego

Tickets: $28-$175 ($192 top ticket price on Jan. 26)

Info: (619) 533-7000

Web: www.sdopera.com