e was born in the neighborhood of Belgrano of the city of Buenos Aires. Throughout his life he carried on his shoulders the burden of being the son of Agustín Magaldi, one of the three foundational tango singers. There would be no need to mention the other two: Carlos Gardel and Ignacio Corsini.

Being a descendant of such an artist, undoubtedly, one of the most admired voices in the history of the genre, that was a bane from which, all his life long, he was unable to get rid of.

As it could not have happened otherwise, his inclination towards music and, especially for singing, took place naturally, almost unavoidably. It was customary, in his family environment, listening to operatic music and tangos. The recordings by Enrico Caruso and Titta Ruffo were among the ones chosen by his father. Furthermore, his home was daily visited by guitar strummers and artists.

He started singing at a very young age, because the family name was a trademark. So such an extent that he appeared on Radio Belgrano when he was still a teenager. After that, tours and a lot of appearances in cities of the province of Buenos Aires began.

He studied not only vocal training, but also music. His instrument was the piano. To the routine of his appearances, longer trips in South America, shows on television and several recordings were added. His songbook included pieces of his own and many of the songs that his father had sung.

Sport was another hobby he had, he studied physical education and graduated as teacher of that discipline. For quite a time, he worked as teacher at secondary schools and at several clubs.

As composer, he wrote a waltz dedicated to his mother: “Madre angelical” and, later, another to his father, “El maestro de mi vida”. Other pieces that belong to him are: “Inútil corazón” (waltz), the tangos “Uruguaya de mi amor” and “Amor con amor se olvida” -the latter was co-written with Oscar Zalazar Martínez and Héctor Barceló-, the song “Vuelvo a Moscú” and the ranchera “El pajarito”, among others.

He committed to record more than sixty songs, nearly all backed up by guitars, save for around ten which had the music background by the orchestra conducted by Alberto Di Paulo.

His interpretations had not, at all, the quality and transcendence of those recorded by his father and, even though he was a correct singer, he did not reach public acclaim. He died young of a heart attack at age fifty-five.