Tureck's interpretation of the trill (as a sextuplet including the following notes, A and B (CBCBAB)) is quite interesting:
As for lack of loyalty to the score, I think no one plays the trill in one 32nd note (it is mostly the trill and the next note, that's 5 notes normally, in a 16th). So, unless there's here a notational convention from the baroque that I don't know of, nobody is being 100% accurate with regards to the score. With this in mind, Tureck's solution seems pretty reasonable and, for me at least, it works beautifully.
There is one exception though, Nikolayeva, but I don't understand how she does it. It appears to be something as a grace note sometimes and others as an inhumanly fast trill. The important thing is that one can hear the actual melody as written (B-BAB-C...) rythmically.