e joined many orchestral ensembles, most of them típicos (tango groups), in his long career going to and fro carrying his double bass and so he appeared at the most famous dancings and cafés of his time: at the L'Abaye with Roberto Firpo; at the Montmartre with Francisco Canaro; at the Opera Ttheater with Osvaldo Fresedo; at the Casino with Julio De Caro; just to mention some of the most famous venues where he kept the beat of hundreds of tangos in interpretations of orchestras with so different rhythms. He was a player much sought-after by orchestra leaders.

He began with Eduardo Arolas in 1912-13, and other groups he joined were those of Minotto Di Cicco, Juan Polito, Francisco Lomuto, Eleuterio Iribarren, José María Rizzuti, José Tinelli. Among the dance halls, cafés, and different venues he appeared were: Armenonville, A.B.C., Maipú Pigall, Florida, and radio stations, theaters and recording studios of all the companies.

He did not compose much music even though he had a facility to create new melodies.

His early pieces were forgotten but we remember the fox-trot “Marión [b]” and the tangos “No seas tonta”, “Las cuarenta [b]”, “Quién diría”, “El loco manso”, “La caprichosa [c]”, “Misterio” which, with words by Carlos Camba, Carlos Gardel recorded.

He came to know Gardel at the Armenonville and, when he was appearing with Fresedo at the Maipú Pigall around 1924, one evening he talked to the singer (who with his peer Razzano used to frequent that cabaret) about a tango which soon thereafter Rizzuti played for him on the piano. As he liked it, on the spot he learnt its melody and asked Camba, who was present there, to add lyrics to it. A few days later the unforgettable singer committed it to record: it was the tango “Misterio”.

His son Víctor Hugo (Hugo Baralis), became a renowned violinist.

Baralis was born in Cuneo (Torino-Italy) on December 22, 1890 and passed away in Buenos Aires on October 7, 1949.