I thought I'd offer a few comments here, as you had invited feedback. I like the way you bring out the variable voicing in the LH, emphasizing the note that changes within each group of four eighth notes. Change is the opposite of monotony, and I think you've done well to highlight the changes at every turn. If you had a better instrument available, I believe you would have been able to soften the LH chords considerably. The best technique is to play the chords not on the keys, but inside the keys, thereby reducing depth of key dip along with the velocity of the hammers striking the chords thus producing softer tones. But I'm well aware of the limitations of your piano and its tendency to not sound notes.
As you know the character of this prelude is a lament. To realize that, Chopin based the entire piece on the "sigh motif". The first one encountered is in full measure 1 and measure 2, that is, in the RH the C at the fourth beat of measure 1 and the B on the downbeat in measure 2. So the sigh is C to B. As you look through the score, the sighs are ubiquitous! Here is the technique: Always shape the tone so that the upper note (the inhale) is louder and more prominent, while the second note (exhale) of the sigh is is more diminished and gentle. A paradox, or a collision of truths: Where the exhales tend to land on the downbeats, our standard performance "rules" tell us that the downbeat must be the strongest beat of a measure--but... not in this piece! The piece has to be played is if there were virtually no downbeats, as they are always quieter than the 4th (weakest) beat of preceding measure, the inhale. So the sighs go: DEE-dee, DEE-dee. (I apologize for my [non]singing voice.
) In the execution that has implications too for balancing the LH. That is, on those quieter exhales, the LH chords cannot drown out that second half of the sigh. The LH is accompaniment only, so must be subservient in the balancing of the hands. Otherwise the sighs will be destroyed.
In measure 16 you have the ornamental turn in the RH going to the G. The turn need not be hurried nor too metronomic. What is more urgent there is the stretto, or sense of tension in the lament. So you can take some liberty there to better express the anguish.
In measure 17, you can play the first group of four slower than the tempo (another liberty) to emphasize the drama element, then resume tempo in the next group paying attention to the blending of the two sequential groups. In the second group of four as well as the following two eighths in 18, you can use pedal there so that the sound is not too dry. Yes, there are some neighboring tones there plus chord changes in the bass. To manage that, each eighth must be separately pedaled for clarity there.
In measure 23, in the LH the note to voice in the bass chord is the A# at the bottom. Actually the voice leading is from the E in the last chord in the LH in 22 down to the A# in 23. Voice both.
The last suggestion I'd make is for the performance overall: Just let it breathe more to allow the nuances to bloom. That doesn't mean to abandon meter and tempo, but to also allow more rubato where it will be effective. If its too metronomic, the character will seem pressing and persistent rather than melancholy and tearful.
I hope this helps.
The piece is coming along nicely. Good work!