Modern editions of earlier repertoire, being themselves already interpretations, can easily mislead the player into taking stylistic wrong turns.

I'm not so convinced that a competent continuo player is always better off reading from a score than from an original figured bass part. My own experience is that one listens more carefully and integrates better in an ensemble—that is, functions less as an "accompanist" (or coach/accompanist) in the modern sense—when reading from such a part. Clearly the character of one's continuo realization will be different when one responds to what one hears other instruments do than when one manufactures the part on the basis of one's reading and analysis of the full score.