Riccardo Muti leads the Vienna Philharmonic in a 2005 performance of the overture to La forza del destino.
In terms of the clairvoyance of conductors, and creation at every performance… This is a principle that leads directly to the baroque and to the false… I read frequently in the papers of effects not imagined by the composer, but I, for my part, have never, ever encountered such effects… I cannot sanction in either singers or conductors the power to create which, as I said before, is a principle that leads to the abyss… Do you want an example? You cited earlier, with praise, an effect that Mariani drew out of the overture to La forza del destino, making the brass enter fortissimo in G. Well then: I disapprove of this effect. Those brass instruments at mezza voce in my concept were supposed to—nay, could express nothing other than the friar’s religious song. Mariani’s fortissimo completely alters their character, and the passage becomes a warlike fanfare, which has nothing to do with the subject of the drama, in which the warlike episodes are utterly episodic. And here we are on the road of the baroque and the false.
—Verdi to Giulio Ricordi (1871)