Well done! I hear great improvements compared to the version you posted a while ago.
I feel like pointing out a few things that I personally perceive; let's see if you agree, nuances that make the difference...
First of all, sing all the melodic notes well by adjusting the weight; the important things are the octaves in the bass and the melody, the rest is harmonic filler.
In general, I feel the introductory triplets of the exposition up to 34 seconds are more on tempo, without too much stretching; those are very important because they must immediately give the idea of the piece. If anything, I hear a slight rallentando starting from the Neapolitan sixth chord (24 seconds) with maximum expansion (but not too much, we are in Beethoven) on the dominant seventh which finds peace returning to the tonic in C# minor, where then the first phrase of the theme begins, arriving in the key of E major with a perfect cadence. You have well highlighted the change of mode (from E major to E minor, before the start of the second phrase). In Beethoven, dotted notes should instead be thought of as slightly "off-tempo"; in reality, rather than being off-tempo, you must execute them with inner calm (as you executed them at sec 59, perhaps even a little too much). Another slight ritardando I hear is at 1:20 when, with the suspended cadence, we go to B minor and immediately with a change of mode to B major. Now there is a transition phase that introduces the dominant pedal in the development of the thirds occurring at 2:37. The dominant pedal, as the term suggests, functions as a pedal; it's fine to pedalize—you understood the sense of this development—but do not arpeggiate the bass; being a pedal, it must stay there fixed, still, without movements, without particular dynamics; if you arpeggiate, you create motion. Think of staticity; that G# is there to provide harmony, to hold harmonics, and not to move. At the end of the development of the thirds before the exposition theme resumes, one should hear those D# - C# - C / D# - C# - C / D - C# - C; these are melodic notes in the inner part. The inner parts are disadvantaged because psychologically one tends to give more importance to the extreme parts, so you must think about them and make them emerge!
At 3:21 the exposition theme resumes. At 3:33 I notice that you make the mistake with the octave in the bass again; perhaps a reading error, and I am pointing it out since I heard the same error in the exposition. It seems to me I hear an octave of A which empties it out a lot along with the A in the theme; the low octave is F# which is very important because it introduces the key of E major, indeed in the bass: II - V - V7 - I.
At 4:24 these are without a doubt the most expressive measures of the entire sonata; it would be worth studying it just for this passage! Here you must emphasize!! The subdominant F# (F# minor chord) that resolves into the dominant seventh of E major with the B major seventh chord (this must be heard), everything that follows is less heard (we are always in maximum expression), it gives chills just thinking about it. After various adventures, it finally finds rest in C# minor with a perfect cadence (returns home), from here a coda begins... Splendid.
These are just my own convictions; I don't want to impose anything on you, you have your teacher who has done an excellent job, but think about it, see if you actually find yourself in it...
In any case, Bravo! I have seen many significant improvements! Keep it up...
