In the summers 1936 and 1937 he was an assistant of Arturo Toscanini in the festival of Salzburg, a meeting that left a deep impression in the young musician. It made debut like the director in Budapest in 1939 with The Weddings of Fígaro.

Being a Jew it faced a restricted professional activity so he decided to leave Hungary in 1939 and spend the years of the war in Switzerland. On not having managed to work like the director, it returned to the piano and gained the International Contest of Geneva in 1942. Four years later it was invited by the American military authorities in Munich to direct Fidelio. This drove to his appointment like the musical director of the Bavarian Opera in 1946. It was in the charge until 1952 forming the repertoire of postwar period of the company and gaining reputation as the director.

Solti realized his first recordings in 1947 accompanying like pianist Kulenkampff in the sonatas for Beethoven violin and directing to the Band of the Tonhalle of Zurick. Later it went to record London with the Philharmonic orchestra of this city and made debut with this band in the concerts room in 1949. Also it began to appear in other European and South American cities, in 1951 he drove for the first time in Salzburg (Idomeneo de Mozart), and in 1952 it moved to Frankfurt as the musical director both of the concerts and of the Opera.

Solti appeared in the Festival of Edinburgh in 1952 and made debut in North America in the Opera of San Francisco in 1953. In 1954 it appeared in Glyndebourne and in 1959 in Covent Garden directing The Gentleman of the Rose. This drove to his appointment like the musical director of Covent Garden until 1971, leading to this stage to one of his best moments. His achievements included the British premiere of Cradle and Aarón de Schoenberg, the first production in Covent Garden of The Woman without Shade of Strauss, the finished cycle of The Ring of the Nibelungos, as well as presentations of Billy Budd and Sleep of one summer Night.

His work in Covent Garden was recognized by the KBE title in 1971 and by the Sir's title after taking the British nationality one year later. Being in Covent Garden, Solti turned into the musical director of the Symphonic one of Chicago in 1969 and occupied the same charge in the Band of Paris from 1971. Also he was an artistic adviser of the Opera of Paris between 1971 and 1973. It kept on appearing in London and other centers like guest, being nominated a conductive artistic and principal director of the Philharmonic orchestra of London in 1979. Solti remained opposite to the Symphonic one of Chicago until 1991 and to the Philharmonic orchestra of London until 1983. From 1992 until 1994 he was an artistic director of the Festival of Easter of Salzburg.

Solti provoked big impact across his numerous recordings. His collaboration in Salomé with John Culshaw since producer drove to a slightly pioneering development in the use of the stereo skills to simulate the theatrical dimensions of the opera, what reached a culmination in his record of The Ring of the Nibelungos, the first one in being edited completed on disc (1966). Solti also enriched the record repertoire with other works of big largeness and passionate nature, like the choral symphonies of Beethoven and of Mahler, or Elgar's symphonies. His knowledge of the possibilities of the disc and his musical talent drove to successful recordings that have been recognized by numerous European and American awards.