Although Richard Wagner is, of course, a figure of world importance, he and his work have had a particularly distinctive impact within the Baltic Sea region-in Sweden, Finland, and the cities of what are today Poland, Russia, Estonia, Latvia, and Lithuania. This story - or, rather, these overlapping stories - are here told for the first time in all their richness, starting with Wagner's own years as an apprentice conductor in Konigsberg (in East Prussia, now the Russian city Kaliningrad) and Riga (Latvia) as well as his eventful concert tour to Russia in 1863. Wagner and Wagnerism in Nineteenth-Century Sweden, Finland, and the Baltics explores how Wagner's operas were performed and received in the theaters of Stockholm and other cities of the region and how excerpts from them were arranged for amateur performances in private homes. Wagner's music and his polemical writings aroused lively discussion around the Baltic, as it did everywhere else in the western world. Thanks to detailed accounts in newspapers, journals, contemporary literature, and writings of music historians (including some by Sibelius's teacher and friend Martin Wegelius), we are privileged, in Hannu Salmi's book, to "listen in" on these debates, which often deal with crucial questions of national self-determination and of cultural independence from Europe (especially Germany, in this case) and imperial Russia. Finally, Wagner and Wagnerism in Nineteenth-Century Sweden, Finland, and the Baltics reveals the surprising extent to which music lovers and opera-goers from the various countries, many of them women, travelled to Wagner's Bayreuth Festival to attend performances. It also reconstructs the imaginative and patient efforts by which confirmed Wagnerians established Wagner societies in order to promote an understanding of the composer's work. Each country, each city, each local composer and conductor shows a distinctive approach - welcoming, resistant, or some of each - to the challenge of Wagner. In the process, we see