Wagner’s relationship with Paris was a career-long struggle with a highly developed music industry that aligned badly with his aesthetic priorities. On repeat visits for what we would now call career networking, he rented in marginal areas of Paris, tried to get on the publishing and performance ladder, courted imperial favour, conducted concerts of his own works, and finally succeeded, briefly, in getting an opera staged at the Paris Opéra (the ill-fated Tannhäuser in 1861). Thereafter, Wagner cults – always contested – began in the concert hall, where anything from riots to hushed listening greeted programmed excerpts of his works. Cultishness intensified after his death – in the press, in artistic and high-bourgeois salons, and finally at the Opéra. This chapter explores the spaces, networks, and contexts within which Wagner attempted to carve out a Paris career which allowed the full concept of the Gesamtkunstwerk to blossom only posthumously.