Volume 160, No. 29

BY JACK SILVERSTEINLaw Bulletin staff writer

Imagine going to a Bears game and,instead of sitting in the stands, standing onthe sidelines in uniform. Or tossing towels toMick Jagger backstage at a Rolling Stonesconcert. Or taking a punch from Will Smithin a summer blockbuster while wearing arubber alien suit.That’s what Edward A. Voci does when he

goes to the Lyric Opera of Chicago. Voci, acivil rights attorney and adjunct professor atThe John Marshall Law School’s FairHousing Clinic, is an extra, otherwise knownas a supernumerary.These are people who populate the fringes

of an opera stage, filling in around the princi-pals and playing roles like soldiers, servantsand townsfolk.They add texture to the stage. And they get

people like Voci closer to the action than isotherwise possible.“I love the opera because it is so unique

and involves so many forms of artisticcreation and performance,” Voci, 62, said.“Staging, costumes, people in motion,dancing, orchestration — and then, thesinging. And involved in all of that, of course,is acting. Singers just can’t sing. They mustalso act.” After one conversation with Voci, it’s easy

to see why he embraces the opera.How the opera came to embrace him is

more complicated.Voice of the people Voci’s love for the opera came from a pair

of uncles. On his mother’s side was Artie, aman who fell in love with the opera when hesaw “La Boheme” as a young man. On Voci’sfather’s side was Sammy, a custodian andtenor who sang “O Holy Night” everyChristmas at church.“I can remember as a child the goose-

bumps from that, knowing he was my uncle,”Voci said. “And his voice was so incredible.” But rather than pursuing the arts himself,

Voci took to law and went into practice

litigating civil rights cases.Whether discussing the law or the opera,

enthusiasm flows from Voci as naturally assong from Pavarotti. He has defended blackpeople who were discriminated against at aPizza Hut; protesters arrested for wearingbandannas over their faces on the basis of a1922 ordinance designed to prevent Ku KluxKlan members from wearing their hoods; anddefended a melange of people aggrieved inhousing and immigration cases.He sees civil rights work as part of his

family heritage. His father’s side gave him thename “Voci,” or “voice,” while his mother’smaiden name is “Popolo” or “people.” “Voices of the people,” Voci said. “Civil

rights lawyer.” He clasped his hands together. “It fits.” From spectator to stage In 2003, Voci took to the stage.He was sharing office space with Jon Allan

Duncan, director of the percussion section atThe Chicago Bar Association SymphonyOrchestra (CBASO). The orchestra wasperforming “Scheherazade” by NikolaiRimsky-Korsakov in three weeks and theywere missing the cymbalist.Who could Duncan get on such short

notice? Ed Voci, of course — the man whospent more time hanging out at the LyricOpera and talking about music than anyoneDuncan knew.“He actually had no musical background at

all,” Duncan said. “The cymbal part is reallyexposed, and it’s an important part in thatparticular piece.” Since the CBASO practiced once a week,

Voci had only two rehearsals with the fullorchestra.“About three nights a week, I went to his

home and was working with him with thesheet music and a recording by the ChicagoSymphony of ‘Scheherazade,’” Duncan said.“We must have listened to that thing 75 times

Copyright © 2014 Law Bulletin Publishing Company. All rights reserved. Reprinted with permission from Law Bulletin Publishing Company.

Civil rights lawyer finds his musical niche as CBA orchestra percussionist, Lyric Opera extra

CHICAGOLAWBULLETIN.COM MONDAY, FEBRUARY 10, 2014

Edward A. Voci in action, teaching at TheJohn Marshall Law School’s Fair HousingClinic (above) and in costume (below) asan extra for “La Traviata” at the LyricOpera. Mike Kelly, Kenneth Giambrone

®

His center stage? The background

To see video of Voci playing the bass drum part in“Carmina Burana” with The Chicago Bar AssociationSymphony Orchestra, visit chicagolawbulletin.com.

so that he could memorize thecymbal part.” From then on, Duncan called

Voci for any additional percus-sion work. Voci has now playedin about 30 CBASO perform-ances, handling the bass drum,cymbals, triangle, wood block,sleigh bells and brake drum.As the years went on, Voci

earned the respect of his peersas well as David Katz, theCBASO’s conductor.“He brings to it a lawyer’s

tenacity to play at the top of hisability,” Katz said. “And he bringsan art-lover’s love of the music.That’s just about the perfectcombination for anyone whoplays in this orchestra.” Voci’s percussion career

reached its peak in June 2011when Voci played the bass drumin “Carmina Burana” atOrchestra Hall.“When you’re playing cymbals

or you’re playing solo bass drum,it’s different than if you’re one of12 violins,” Voci said. “You’rethere by yourself, and if you messup, everyone knows it. But if youhit it, it’s exhilarating.”

A face in the crowd Still, nothing gets Voci as

excited as opera. When aCBASO colleague informed thegroup in 2011 that the LyricOpera was holding a massiveaudition for supernumeraries for“Aida,” Voci was in.A year later came his breakout

performance, if one could call itthat, in “Simon Boccanegra.” “I had seven entrances, two

costume changes, swordplay andheld a live torch at the curtaincall,” Voci said.In Act II, he had another

opportunity to grip an importantpiece of the opera: New Yorktenor Frank Lopardo. Vociplayed a soldier who preventedLopardo’s character Adornofrom murdering SimonBoccanegra, played by world-renowned tenor ThomasHampson.“I get to hold (Lopardo) at

center stage,” Voci said. “Hecharges through the crowd witha sword to kill SimonBoccanegra and … I arrest himand then hold him in custodywhile he and Thomas Hampsonare singing back and forth.” Like every part of the opera,

the supernumeraries are giventhe Lyric’s utmost attention.

For Voci’s costume for “LaTraviata,” his wig is custom-made to fit his head. Heundergoes a 33-minute costumeand makeup process, takes thestage as a servant, exits, changesinto a bull costume with anotherman who plays the back of thebull and then has anothercostume change later in theshow.Now that he has his opera sea

legs, Voci is pursuing a newventure — writing a librettobased on the song “The NightThey Drove Old Dixie Down” byThe Band.He does not yet have a

composer, though he does havethe support of one key player:Robbie Robertson, The Band’slead guitarist and the writer ofthe song. Voci acquired thesong’s rights by cold-writingWarner Bros., then did a testrecording by writing an aria withthe help of a composer friendand 30 local musicians.After he told Warner Bros.

about his recording, he receiveda supportive e-mail. It was from Robertson: “Edward, Iwould be very curious to hearthe music that’s been written

and recorded. You guys areeither on to something brilliant or completely mad. I’mrooting for you either way.Robbie.”Voci does not call himself

crazy or brilliant. He is merely aman who wanted to give back tothe opera.“You do all of this preparation,

you do all of this rehearsing,singers go over their score, theorchestra members rehearse.That would be like the attorneygoing over the deposition takenduring discovery,” he said.“When it comes time for trial,

it’s not like a video or a moviewhere you can go back and edit,”he said. “It’s people on stage andthey perform. There’s norewinding. You do it or you don’t.If you are properly prepared, theend result is a successful trial ora work of art.” The only difference for Voci is

casting. In court, he is a leadactor, the Thomas Hampson infront of the judge.What would a supernumerary

be in a trial? “A minor witness,” Voci said

with a smile. “Or maybe anexhibit.”

Copyright © 2014 Law Bulletin Publishing Company. All rights reserved. Reprinted with permission from Law Bulletin Publishing Company.