I hope my post doesn't end up sounding like a full blown encomium given that I have already accused someone of sycophancy 
Vocal support - Sri R.K.S.Ramakant
Violin - Sri Lalgudi G.J.R.Krishnan
Mri - Prof.Trichy Sankaran
Ghatam - Sri B.S.Purushottaman
1. inta mODi (sAranga varNam)
2.shrI mahAgaNapatiravatu mAm (Gowla, mishra cApu, MD) (S at ravisahasrasannibhatEjO)
3.divAkaratanujam
4.nityarUpa evari (darbAr, rUpakam, Thyagaraja) (A, S at pallavi)
5.nI muddumOmu (kamalAmanOhari, Adi, Thyagaraja)
6.mAmava sadA (nATakurinji, rUpakam, Swati Tirunal) (A, S at pallavi)
7.varanAradanArAyaNa
8.bhajana sEyarAdA (dharmavati, rUpakam, Mysore Vasudevachar) (A, N, S, T at paranArIsahOdaruni paripUrNakAmuni)
... (unfortunately had to leave at this point
)The alignment to shruti was perfect thru n thru... The doyen's son didn't always coordinate with him. N I thought the vocal support lacked sensitivity sometimes. But Sri R.K.S marched on enjoying every moment of the experience. It was wonderfully evident that he felt n relished every second of the music and this almost surreally reached out to the audience. Even at his age, the pronunciation was flawless, even in Dikshitar's madhyamakAla sAhitya in the GowLa kriti... The swaras were dainty and proportionate. They expressed the rAga swarUpa beautifully.
The Saturday invocation was gravid with sowkhyam. In accordance with the deity being SanaiScara, the kriti moved with a leisurely and majestic gait.
I've heard Sri R.K.S's darbAr on radio but hearing it live was truly something else. Given his predilection for this rAga, his essay was comprehensive although I somehow felt that there was a proverbial nAyaki-in-darbAr moment. Sri Padmanabha's brigas were sharp and he took up the higher octaves were his voice sounded very pleasing. nityarUpa is a relatively rare composition and it was nice to get to hear it.
#5, despite being a filler didn't quite run away before you saw/heard it, which is how these kritis usually get treated. In this respect, I felt the the whole concert had an intangible sense of balance and proportion, an intrinsic speed which was just right.
I'd heard one elaborate nATakurinji earlier this season but this one beat it by miles... Pure bliss... Every phrase... The violinist's solo was brilliant and his swara sallies were outstanding. He received applauses for two consecutive replies. It is no wonder that he prefers goin solo or with his sister only. His music is really profound n there's no scope for gimmicks.
Sri R.K.S's emphasis on pATantara was evident in #7 when his son left a sangati n he signalled to him that he'd missed it n then sang it himself. This despite varanArada again being a "filler".
I hadn't heard dharmavati even once this season n it was gr8 to hear it as main. The neraval in particular was eminently emotive n the artiste commented after an awesome reply from the violinist, "sAhityArthatta anubhavicchi pADanum". No dazzling speed, no tAnam-ish breezing thru to draw applauses. Just meaningful n touching music. The tani had its share of fireworks given the stature of the Mridangam vidwan. Had to leave midway (I hate to do this, but had no choice)
Anyway, this was one amazing concert. Period.