Having just listened to your recording, I am inclined to suggest using 6/8 throughout, because that's what the recording sounds like.
That is, I don't hear any syncopation on "laden," and while the chorus is very good and does take into account the text stress on the second eighth of the three-eighth-note pattern, there is nonetheless a metrical weight and lengthening of the first. If this is acceptable or desirable then perhaps you should put the whole thing in 6/8.
It reminds me a bit of "Infant Holy, Infant Lowly," which (in 3/4) has a pattern of two eighths followed by two quarters, with the eighths on the downbeat. The text stresses, however, always come on the second beat, with the result that the notation is arguably incorrect. (I have always assumed that the metrical alignment of the melody is correct for the original Polish words.)
I agree with your hesitation to use accents. Many conductors if not most will read them as asking for a sharp emphasis rather than as signifying a shift in the meter.
If I were you I would keep it in 3/4 and not do anything else unless you really want a sharp accent in the middle of the bar. Here's why:
The soprano won't put metrical stress on beat 4.2 because it's an eighth note on an unstressed syllable. They can't put it on 4.3 or 5.2 because they don't have notes there. You don't need additional markings to tell them that there's a musical stress on the first syllable of "laden" because the text underlay tells them.
The alto is syncopated in the second half of 4 and the first half of 5 no matter what meter you use. Also see point 5 below.
The tenor is in 3/4 throughout.
The bass has the same situation as the soprano in measure 4 and as the alto in measure 5, which brings us to the next point.
What does it mean for the first half of 5 to be in 6/8? How does one avoid a secondary stress on the third eighth note of the bar when there is a stress two eighths later and one at the beginning of the bar, two eighths earlier? I would call it impossible, but even if it isn't it's more trouble than it's worth. Better to accept that there's a secondary stress there, which will be minimal because there's no syllable but present nonetheless. If you recognize that secondary stress then the bar is in 3/4.
The previous bar could be in 6/8 or 3/4. It's probably going to sound to the audience like the melody is syncopated one way or the other. If that really bothers you, then keep it in 6/8 and you might be able to overcome it. But it will be much easier for the conductor and the singers if you keep it in 3/4 and let the textual meter interact with the musical meter to create the subtle syncopation that I suppose is your intention.