Naples in the late 1820s where he published a treatise on acting and found a congenial atmosphere in a musical circle called I Trascendentali. Several of his plays had also been published in Naples and Felice Romani encouraged him to try his hand at writing librettos. He provided a new libretto for the 1832 revival in Genoa of Saverio Mercadante's opera Gabriella di Vergy and contributed the synopsis for Salvadore Cammarano's libretto to Persiani's Ines de Castro. Bidera and Cammarano were subsequently involved in a year-long battle with the Neapolitan censors before the opera finally premiered in 1835. For Donizetti, he provided the complete librettos for Gemma di Vergy which premiered in 1834 and Marino Faliero which premiered the following year. The success of the Donizetti operas led to Bidera being appointed as a house librettist at the Teatro San Carlo where between 1835 and 1838 he wrote the librettos for operas by Carlo Coccia, Giuseppe Lillo, and Giuseppe Balducci. After his work at the Teatro San Carlo, he produced the librettos for a number of other operas by now-forgotten composers, but which had performances in Naples, Milan, and Venice. During his time in Naples, he also published Il colera in Napoli, a collection of vignettes from the 1836 cholera epidemic there and Passeggiata per Napoli e contorni, a two-volume description of the city, its surroundings, and the customs of its people. Suspected of involvement in the 1848 uprisings in Naples, Bidera was required by police order to leave the city. Leaving his family behind in Naples, he retired to Palermo in 1850. He opened an acting school there and devoted himself to research in philosophy and linguistics, writing occasional pieces for the Sicilian journals L'Armonia and Il Poligrafo. In 1854 he published Teatro edito ed inedito, a collection of ten plays, some of which had been previously published. It marked the first time that his surname was given as "Bideri" in his published writings. The book began with a four-line autobiographical poem: Bidera died in Palermo at the age of 73, leaving an unfinished science fiction novel entitled Storia ideale di 40 secoli (Ideal History of 40 Centuries). Shortly after his death, the composer and writer Marco Marcelliano Marcello wrote in the Gazzetta musicale di Milano: I will not see him again, that good old man, with a spent cigar stub between his teeth, poor but happy; friend of