After this debut recital the jury still remains out on this Roman-born, erstwhile Karajan protege. Donizetti’s “Maria di Rohan” and Verdi’s “Ernani” elicit vivid responses, while spotlighting an underdeveloped technique. Puccini, Massenet and Cilea prove more congenial to D’Amico’s gifts and temperament. But even though her Liu, Manon Lescaut and Mimi are fastidiously shaped, a distinctive manner or evidence of histrionic illumination occurs only fitfully. Zedda’s accompaniments are more than acceptable.