As the Second Ballade is one of my warhorses, I listened to this performance with particular interest.
Good things first: I found the Presto con Fuoco (and its recapitulation beginning in D minor) technically almost preternatural, but since you are so able, I'm not going to go easy on you
You are able to play it at any speed, but when something is this fast, by taking time at the right moments it becomes more effective dramatically but also seems even faster. By keeping the phrasing more pliable, particularly in the left hand (swoopy dynamically rather than ASLOUDASPOSSIBLE), and careful integration of rubato a the tops and bottoms of phrases, you can give the impression of even greater speed through a telescoping effect - a car going really fast very close to you has a Doppler effect, while a car going even faster in the distance appears to be going less fast.
Edit: The thing MarkC said about the softer side being applicable to the fast parts as well as slow is a big part of what I mean by telescoping.
I would love to know how you got the diminished 7th figuration in the second measure of the Presto so electric. That measure bogs me down a bit for some reason (probably to do with the subtle crossrhythm and syncopation) even though more difficult stuff like the coda no longer gives me much trouble. That brings me to my second point: overall I found your coda satisfying, but it could do with more telescoping/contrast for greater effect. The most egregious technical issue is that you have this awkwardness in the climactic chord-arpeggios: you "wait" for the hand repositioning. It's definitely not easy, but if you work on it as diligently and intelligently as you did the rest of the notey bits, I'm sure you can get it. That figuration is hellishly difficult, and if you can manage it masterfully, pianists who know will absolutely notice.
I won't address the Andantino or middle section now - too much to say, except that the other posters are right on: it needs to be almost metronomical in regularity. This seems counterintuitive, but it's a flowing, rocking lullaby, not an operatic aria or nocturne. Create contrast through dynamics, variety of phrasings in the repeated material, and color changes rather than big rubati. There are a couple of spots where noticeable rubati are effective, but only a couple. The rest should be very, very slight and linked mostly with harmony changes rather with than the melody.
You're off to a very good start, and I think you could play it brilliantly with just a few changes! Best of luck with it!