You're welcome to disagree with my general comments; after all they are interpretative and thus only a matter of opinion.
Overall, I think your tempo is slightly fast, but then again, I suspect the tempo I choose would conventionally be considered slow. My rationale is that I don't believe this type of aria should be played on the piano at the same speed as it would be performed operatically, because the piano is not capable, for all the skill of Liszt's transcription, of producing the depth and colour of the full orchestral sound, so I think that, if it is played too, it loses drama, space, and dignity - but that the pianist does get someway to recreating that by playing it a bit slower than it is written orchestrally. I hasten to add that your performance doesn't fall into the trap of letting the piece come over as matter-of-fact.
0.10 "Nothing ever happens quickly in Wagner" I tend to play the semiquavers (perhaps overly) slowly and not literally as written.
0.23 your lh tremolo is much better than mine.. how do you keep it so quiet? I find that to be the hardest thing in the whole piece.
1.03 I like the left hand here - at 1.10 I've taken to trying to split the Ab and Bb in the left hand so that you hear much more of the Bb than the Ab - it didn't come out as intended a fortnight ago!
1.57 I like your handling of the second page; I think you probably got the slight rhythmic undulation effect caused by the alternation between semiquavers and triplet semiquavers. It was really interesting to me how you played this passage and the parallel ones every two bars after. Isn't it so easy to mess up the articulation in the demisemis? And I really don't think I believe in playing them literally as written, in which case they can get garbled.. I recall "calmness.. not a hint of virtuosity here" being said. I'm inclined to play them on the slow side - this applies throughout the piece.
2.48 What you do sounds good, but I think it's even better if you can split the bottom of the chord, pp, and play the top of the chord mp so you get the melody floating on top of the arpeggiated chord. For how not to play the passage, see Brendel on youtube. Yuck. There are also some counter-melodies going on in the bass that you don't really catch.
3.19 Maybe you are right here, and it should be played at that tempo. Perhaps my playing is sentimental kitsch I'll think about it.
3.38 I like to try to bring out the upper treble voice here.
4.00-5.12 the build-up to the big climax: the suggestions I was given here were:in the bars with the triplet quavers, hold back marginally on the regular quavers, and press forward on the triplets to give impetus; 4.34 it is traditional to return to pp on the A# chord; 4.54 this bar is "tranquillo, note the absence of dynamic markings, all is still as the moon passes over the scene" - I rather like this way of looking at it.
5.06 I think it's too fast too soon.
And I think a momentary pause before the big climax at 5.12 is wonderfully effective.
I play the ossia tremolando climax, but that's obviously a matter of taste. I've had one large musical argument over my choice here, and I don't feel like having another
6.25-6.33 In Wagner's original there's an oboe, it is represented by the alto line G#, A, A#, B, C#, D# in the transcription. As it's an important motif in the Wagnerian context, I believe in emphasizing it in the piano version too.
If you want to dissect my performance of this piece that's currently also in the audition room, I certainly won't mind.
I was greatly influenced by Daniel Barenboim's orchestral (with no singer) recording when it came to pacing. After listening to his interpretation, all slower ones seemed to lack structure and momentum and I got bored while listening. I think it should only be played more slowly only when there is a singer.
and I believe in momentum and spilling it all over the top, especially since this is the big climax. I used to like holding it back, but doing so at this point would be like "bing bang boom" without ever getting to the 'boom' if you know what I mean. I was originally going to use some kind of sexual analogy (i.e. how much 'blue balls' sucks) to say this but hopefully you know what I'm getting at..
I spent hours working with my teacher on tremolos. Basically, the less you do, the better it sounds. Here's a good start: when you begin, play the left hand as a solid chord and only retouch the notes when you feel the sound fading.