I never was a big fun of Pletnev. Even his Rachmaninoff’s Third Concerto (he plays piano), which many promoted as an “ultimate Rach 3” I found was unspeakably bad. Still, the “live” is live at it defiantly ads a lot of kink.
In regards of the recordings….
I would not consider Argerich worthwhile performer of the Rach 3, nether the Horowitz in 1940. I think Horowitz did much better in 1951, but it was still his bizarre and twisted Rach 3. Among many good Rachmaninoff’s Third Concertos I would suggest you to find (juts for sake of education) the performance of Geiseking with NY Philharmonic lead by Barbirolli in 1943. This is from a certain prospective a painful performance but “painfully beautiful”. I promise you that you never expect what Geiseking did in there… If you never heard it then you my change you mind how the Rach 3 “might” be interpreted (if you can't find I can put one on my file server).
With Vocalise is more complicated, as there are many different things people looking for in Vocalise. I would name 3 radically different perfumeries but each of them outstanding in own way:
Golovanov with USSR Radio Orchestra in 1949 with Koslovsky tenor is singing (originally for written for Nezhdanova-soprano). Koussevitzky with Boston Symphony in 30s or 40s, I would start from 1945. Koussevitzky recorded it a few time, all orchestral, and all of them are very interesting. Stokowski in 1964 with Anna Moffo and American Symphony…
"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche