Given that Wagner succeeded in establishing himself as a national icon, it is not surprising that he was seen abroad as a representative of German culture. However, all over Europe as composers and dramatists began imitating his style in the late nineteenth century, they adapted it to their own national traditions. In this respect Wagner’s work became synonymous with national art in music theatre in different contexts, modified according to particular national self-images. Moreover, Wagner reception in Europe differed from country to country in social terms. For instance, French wagnérisme was quite elitist. It was restricted to the upper social classes and to artists, whereas German Wagnerianer came from all different classes and professions. It is therefore no exaggeration to speak of various national Wagnerisms. In my essay I concentrate especially on Wagnerism in Sweden and Finland, where Wagnerism seems to have differed from the German and the French practices, as well as taking different forms in each of these two Nordic countries. Swedish and Finnish Wagnerisms will be evaluated against the backdrop of other European Wagner imitations. This overview will focus on the introduction of Wagner’s practical and theoretical work into composition, the operatic repertoire and the cultural life of the European North.