Hi Marg,
I just listened to this rendition, and note that it is coming along in many ways.
I have the very same impression as birba though--the accompaniment is often coming out of the background to challenge, interfere with and even submerge the melody in the foreground. This happens in both hands, because when the melodic line is transferred briefly at times to the left hand, the right hand then tries to compete with it and to wrest control. As I listen, there are instances (not all the time) were the left hand is more of a polyphonic counter melody than accompaniment per se, so those intertwining melodies can legitimately be brought out as if in a duet. But normally the left hand is purely quieter accompaniment.
Here is what I would do at this point, Marg: Establish the melody! To do this, forget almost all the notation on the score. Only focus on, isolate and play the melody notes--no accompaniment whatsoever. Play the long melodic line by itself, and if there is a hand-off from the RH or the LH, include those brief transitions into the playing of the long melodic line. Play it from beginning to end, several times to firmly ingrain it into your mind and fingers. No pedal! None. Concentrate not only on the notes of the line, but play them legato, piu, piu legato with the fingers and the rest of the playing apparatus. Pedal will only be a distraction from the main task here.
Once you've done this, you'll know at all times what is in the foreground, and what is to be subordinated into the background. Then as you play the piece, using differentiated dynamics, project and protect the melody at all times! If you are playing the melody at f, then the accompaniment will be mf unless the score calls for something else. If the melody is mp, then the accompaniment will be p at most. The way to do this well is
never to make the melody louder. That only invites the accompaniment to be louder too. To the contrary,
always lower the accompaniment instead. Then the melody will naturally soar over it by itself with no extra work on your part.
Once you've accomplished the above, then carefully examine the bass for strategic or "purple patch" harmonies and polyphonic counter melodies that are points of interest for the listener, and deserving a little more of the lime light, and bring them out accordingly, but afterward let the bass subside into more quietly serving the melody again.
Lastly, listen very very carefully to your pedaling. There were some blurs and smudges in there. A clean pedal will give you clarity of line. For pedaling, let your ears be the High Court every second that you're playing.
I hope this helps.

David